Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

OPERA TODAY ARCHIVES »

Reviews

Siegfried Wagner: Der Schmeid von Marienburg
11 Oct 2009

Siegfried Wagner: Der Schmeid von Marienburg

Will the 22nd century still see the opera-loving world as fascinated by the ongoing saga of the Wagner family as the 20th did and the 21st does?

Siegfried Wagner: Der Schmeid von Marienburg

Marco Polo 8.225346-48 [3CDs]

$30.98  Click to buy

They retain essential control over their great ancestor’s festival theater in Bayreuth, and their squabbles, successes, and failures make headlines with regularity. The line might well have died out if Richard Wagner’s son Siegfried had not decided late in life that he needed to marry and produce heirs - although even the booklet essay of this Marco Polo recording of the thirteenth of Siegfried’s operas makes no compunction about calling Siegfried a homosexual. His marriage to Winifred produced the desired children, but Peter P. Pachl’s notes, translated by Keith Anderson, claim that Winifred blocked further performances of her husband’s works after his passing, and burnt his uncompleted compositions.

All that drama, historical and psychological, proves more interesting than Siegfried’s actual work, unfortunately. Marco Polo’s booklet in the set for Der Schmeid von Marienburg provides no libretto (an internet address is given for a German libretto only), but it does have notes on the opera’s production, the historical background of its story, and a biography of the composer, all by Rupert Lummer, besides the Pachl note. Lummer maintains that Siegfried’s operas “are very different from those of his father,” tying Siegfried’s development to his teacher, Humperdinck. Yet Humperdinck famously helped with the music to some transitional passages to Parsifal, and many have heard the influence of Wagner’s style in the score to Hansel und Gretel. In the Siegfried opera here not only does the title resemble that of his father’s great comic opera, but both are set in the Middle Ages. Plot details otherwise differ, it’s true, but to listen to the music of Siegfried’s opera, especially of acts one and two, is to hear many passages resembling the earlier work of father Richard, especially from Lohengrin or Tannhaüser. Long monologues dominate the narrative, and the idiom of swooping horns and anxious strings invites comparison to those earlier Richard Wagner scores. Act three does have some music that suggests Siegfried’s talent did not only lie in producing work that, to put it as nicely as possible, honored the memory of his father’s creations. If only he had pursued an artistic route distant from his father’s achievements, Siegfried’s operas might be more than curiosities.

Der Schmeid von Marienburg provokes little interest, despite being a curiosity. The detailed plot synopsis baffles more than clarifies, and just one line from one scene of one act should serve to catch the general flavor: “On the square in front of the Marienburg, Muthart explains how the army’s defeat at the Tannenburg was caused by the treacherous Lizard Knights of Kulm.” Besides Lizard Knights, watch for a devil-figure called The Lame Wanderer” (who gets the best music), secret tunnels, a “newly-forged” helmet, and much more. Too much more, if fact, and yet not enough recognizable human psychology, which Richard Wagner always had, even in his most far-fetched action. Wagner also had a supreme gift for memorable melody, which his son, sadly, did not inherit. But Siegfried was not an incompetent composer. The orchestration holds together a loose fabric of themes and motifs. It just never breaks free often enough into an individual style.

This live performance originated from essay-author Pachl’s June 2008 production at the Filharmonia Gdańsk, with Frank Strobel conducting the Baltic Philharmonic Orchestra. Without a libretto, following the action and identifying particular roles becomes all but impossible, especially as Marco Polo divides each act of over an hour into just a few tracks; act two on disc two has 64 minutes of music and only 5 tracks. The cast list gives 17 roles. The men fare very well, but one of the sopranos, possibly Maacha Deubner but more probably Rebecca Broberg in the role of Friedelind, has the sort of big, heroic voice that strays fairly often from pitch -a quality admittedly not unknown in performances of Richard’s work.

For a live recording, the sound is admirably clear and spacious. Followers of the never-ending Wagner family saga may want this, or any lover of early Wagner who would like more of the same - and yet, less.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):