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Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2019 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.
Showing posts with label Hans Knappertsbusch. Show all posts
Showing posts with label Hans Knappertsbusch. Show all posts

Sunday, July 17, 2016

The Wagner Project: Die Meistersinger von Nürnberg

Wagner's longest opera happens to be one of the great comedies.
by Paul J. Pelkonen
A medieval woodcut depicting the city of Nuremberg.
In 1848, Wagner had two ideas for operas. One, the saga of the swan knight, became Lohengrin, the other was Die Meistersinger von Nürnberg ("The Mastersingers of Nuremberg." Meistersinger (as it is usually called) was sketched as a rustic comedy, kind of like Tannhäuser with less sex and a happy ending. 19 years later, when Die Meistersinger finally appeared, it became Wagner's longest opera, a profound reflection on the composer's own career and the search for the meaning of German art. It remains one of his most popular operas. And yes, it's a comedy.

Thursday, February 14, 2013

The Grail-Shaped Beacon

Some (more) thoughts on Wagner's Parsifal.
by Paul J. Pelkonen
"You know where you can find me again." Jonas Kaufmann in Act II of the Met's new Parsifal.
Rehearsal photo by Ken Howard © 2013 The Metropolitan Opera.
Why is it that whenever I'm having one of these days where I'm feeling blocked and vaguely like I can't write anything, that I can always turn to one opera for support?

That opera is Parsifal. Wagner's final stage work not only has amazing music, but it also has a timeless, quasi-religious quality to it, the sound of spiritual meditation and yes, even prayer. Regular readers of this blog know that this is an opera I write about regularly, when a new CD or DVD recording comes out. With the Met about to open a new François Girard production tomorrow night, this is the time to stop and think about what this work means, both to me and in general.

I own a lot of Parsifals. (Eleven at last count.) In fact, it was the first opera that I ever owned a recording of on CD when I was in college. That was the 1985 James Levine recording from the Bayreuth Festival, a set I first encountered because it featured the beautiful Waltraud Meier as Kundry, the opera's principal female character. (This recording is among the longest in the catalogue, timing out at 4 hours and 26 minutes. Mr. Levine's Parsifal is not for the faint-hearted.)

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Critical Thinking in the Cheap Seats