Thu, 3 August 2006  At this year's Bayreuth Festival, one thing is certain: the new production of the Ring is receiving standing ovations thanks to the vision of director Tankred Dorst, the incredible conducting of Christian Thielemann, who leaves no doubt that he is one of the great Wagnerians of our times, and the amazing singing of Adrianne Pieczonka as Sieglinde. In this presentation of excerpts from Die Walküre you will also hear Endrik Wottrich as Siegmund, Linda Watson as Brünnhilde, and Falk Struckmann as Wotan.Comments[6] |
Thank you for the podcasts, I've heard them all and enjoyed each one immensely.
I must disagree with your characterization of Thielemann's conducting as "incredible." The orchestra certainly has a lush, detailed sound, but the frequent and unnecessary changes in tempo are annoying. I think it important that a conductor imparts a sense of constant forward momentum to Wagner, with Bohm and Boulez being good examples. Thielemann's ever-changing tempo just drains the energy from the music; frankly, I'd rather listen to the ponderous conducting of someone like Levine. Strangely, I don't remember noticing this tendency while listening to the Rhinegold excerpts.
On the other hand, I strongly agree with your opinion of Pieczonka as Sieglinde. I could have done without the "scream" when Siegmund draws Notung from the ash, but, all things considered, her performance was very, very strong. I also like Watson's Brunnhilde. Struckmann was OK, but seemed to have trouble with the high notes. He really stumbled on "du lachende Lust meines Auges," but he may have simply been exhausted at that point. Your criticism of Wottrich was exactly right, but saying he's only singing because of his relationship to Wolfgang's daughter was a low blow. (I've read Spotts' history of Bayreuth, however, and I must admit that such a thing seems all too possible.)
Thanks again for the wonderful podcasts. I'm eagerly awaiting the next one.
D.
I must disagree with your characterization of Thielemann's conducting as "incredible." The orchestra certainly has a lush, detailed sound, but the frequent and unnecessary changes in tempo are annoying. I think it important that a conductor imparts a sense of constant forward momentum to Wagner, with Bohm and Boulez being good examples. Thielemann's ever-changing tempo just drains the energy from the music; frankly, I'd rather listen to the ponderous conducting of someone like Levine. Strangely, I don't remember noticing this tendency while listening to the Rhinegold excerpts.
On the other hand, I strongly agree with your opinion of Pieczonka as Sieglinde. I could have done without the "scream" when Siegmund draws Notung from the ash, but, all things considered, her performance was very, very strong. I also like Watson's Brunnhilde. Struckmann was OK, but seemed to have trouble with the high notes. He really stumbled on "du lachende Lust meines Auges," but he may have simply been exhausted at that point. Your criticism of Wottrich was exactly right, but saying he's only singing because of his relationship to Wolfgang's daughter was a low blow. (I've read Spotts' history of Bayreuth, however, and I must admit that such a thing seems all too possible.)
Thanks again for the wonderful podcasts. I'm eagerly awaiting the next one.
D.
Thanks for being such a loyal patron of these podcasts, and I am glad that you have listened and enjoyed them.
Though Thielemann does tend to change tempi quite often, I thought that he was doing it to energize the performance. I guess I should have been a lot clearer, but when I used the word "incredible" I was referring to the lush sounds that he was getting out of that orchestra.
As far as Struckmann was concerned, I was sorry that he cracked on the "du lachende Lust meines Auges" phrase. I don't think he fully recovered after that, but he managed to keep the voice somewhat steady to the end.
Once again, thanks for listening.
Though Thielemann does tend to change tempi quite often, I thought that he was doing it to energize the performance. I guess I should have been a lot clearer, but when I used the word "incredible" I was referring to the lush sounds that he was getting out of that orchestra.
As far as Struckmann was concerned, I was sorry that he cracked on the "du lachende Lust meines Auges" phrase. I don't think he fully recovered after that, but he managed to keep the voice somewhat steady to the end.
Once again, thanks for listening.
posted by: Vincent Vargas on Sat, 8/5 05:30 PM EDT
Could it be that you prefer slower tempi and tend to notice the accelerations, while I prefer quicker tempi and therefore tend to notice the decelerations? To me it seemed like Thielemann was "putting the brakes on," resisting the music's natural forward impulse.
For example, play 6:30 through 7:10. At 6:35, when Siegmund sings "HeiB in der Brust" a long series of short orchestral strokes begins and lasts through "und warst du entehrt" at 6:56. These strokes have the effect of gradually lifting the music towards a climax that should occur at "Auf lach ich in heiliger Lust" as the music crescendoes. Unfortunately, Thielemann inexplicably chooses to slow the tempo at this point, sapping away the accumulated momentum and nearly turning the climax into an anti-climax. He then immediately reverts to the quicker tempo, and I'm left feeling as though the climax has been stolen from me.
All of this is just one man's opinion, of course.
For example, play 6:30 through 7:10. At 6:35, when Siegmund sings "HeiB in der Brust" a long series of short orchestral strokes begins and lasts through "und warst du entehrt" at 6:56. These strokes have the effect of gradually lifting the music towards a climax that should occur at "Auf lach ich in heiliger Lust" as the music crescendoes. Unfortunately, Thielemann inexplicably chooses to slow the tempo at this point, sapping away the accumulated momentum and nearly turning the climax into an anti-climax. He then immediately reverts to the quicker tempo, and I'm left feeling as though the climax has been stolen from me.
All of this is just one man's opinion, of course.
I must agree with Dmitchell about Sieglinde's scream after Siegmund's "Notung". As for Wottrich, his voice seems to me too effortful and unclear.
Thanks for your podcasts.
Thanks for your podcasts.
posted by: Paulo on Mon, 7/16 11:48 AM EDT
And I hope that Struckmann was only tired. Otherwise I like his voice and interpretations, notably as Gurnemanz.
posted by: Paulo on Mon, 7/16 12:16 PM EDT
Post your comment:
