Wagner
The Ring Without Words
(Der Ring ohne worte) (Richard Wagner Society SA @ the Grainger Studio, ASO, 10 July 2022) And we thought trying to present Every Musical Ever in an 80 minute show was audacious: in 1987, conductor/composer Lorin Maazel, one of the few Ukrainians we’ve heard of, created a “symphonic synthesis” with the Berlin Philharmonic of Wagner’s Ring Cycle (the tetralogy taking about 16 hours in full), reduced to a 77 minute recording. The Adelaide Symphony Orchestra’s Conductor Laureate Nicholas Braithwaite, a great friend of the RW Society, gave a very informative and entertaining talk (with musical and visual demonstrations) deconstructing how…
Continue Reading →Wagner and the Snowy Uplands of Utopia
Christmas Celebration of the Richard Wagner Society of SA, November 28, 2021 A very pleasant lunch ended the Wagner year with regrets for what could have been (The Ring in Brisbane, for example, cancelled for the 2nd year running) although we are now told it’s to return in December 2023. The RWS (SA) chose the Tribschen Idyll as its Christmas theme, marking that cold day in 1870 when it was first performed on the steps inside Richard’s and Cosima’s house (main image). Presented as a Birthday / Christmas gift from Wagner to Cosima on 25 December, it features all the…
Continue Reading →Wagner in Russia
13 February 2021: The Wake for Wagner The Richard Wagner Society of South Australia hosted Konstantin Shamray, an expert pianist and musicologist, for a stimulating and enjoyable lecture on Russian Wagnerism (see main image, Konstantin in conversation with Society President Geoffrey Seidel). Wagner gave six concerts in St Petersburg in 1863, conducting excerpts from Der fliegende Holländer, Tannhäuser, Lohengrin, Tristan und Isolde, Die Meistersinger, Die Walküre and Siegfried. His ‘rock star’ presence ensured a wild commercial success, but as Mr. Shamray explained, critical reaction was mixed, particularly among the Russian composers, whose initial adulation morphed into a local set against “disgusting chromaticism,” a surfeit…
Continue Reading →Wagner’s Parsifal
(The Music of Redemption) by Roger Scruton (2020) Some Brief Words From the Wise on Holy Communion “…it belongs to that class of myths which have been dramatised in ritual, or, to put it otherwise, which have been performed as magical ceremonies for the sake of producing those natural effects which they describe in figurative language. A myth is never so graphic and precise in its details as when it is, so to speak, the book of the words which are spoken and acted by the performers of the sacred rite.”* “It would indeed be impossible to devise a mystery…
Continue Reading →Sturm und Drang vs Screaming Jets
Richard Wagner Society of South Australia, Wake for Wagner, 23 February 2020 A slightly delayed soiree was held for the Master’s Death in Venice (13 February 1883) where we were entertained by helden-baritone Ian Vayne, veteran of many operas here and overseas (his repertoire is set out below). He spoke of previous productions (including the unnerving experience of German directorial flourishes which forced him at one stage to wear alarmingly raised boots as the Dutchman, high as stilts but far less steady) and how the local ones only got off the ground due to determined and smart folks like Bill…
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