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Número 276 - Zaragoza - Diciembre 2023|
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FORO
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Suscríbete ya a la newsletter de Música Clásica |
| El Holandés errado |
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Un amigo, fugaz visitante de este foro, me ha enviado la siguiente reseña de "The New York Times". OPERA REVIEW | ’DER FLIEGENDE HOLLÄNDER’ Another Wagner’s Debut, Turning the Plot Around By ANNE MIDGETTE ÜRZBURG, Germany, Oct. 13 ? Senta is the weird girl in school with funny clothes and strange music on her Walkman. Daland, her father, is a slick operator who’s happy to forge a passport or even prostitute his daughter if the price is right. And the dapper Flying Dutchman is a wanted man who is ultimately beaten to death by skinheads wielding baseball bats. "It’s important to me that a work relate to the present day," said Katharina Wagner, the director of this new production of "Der Fliegende Holländer" at the Mainfranken Theater here, which opened on Sept. 22. "And I think I’ve found exactly that in ’Holländer.’ " Ms. Wagner is 24. She’s tall, blond and pretty, and before September she had never staged an opera. She’s also the composer’s great-granddaughter, and her father, Wolfgang Wagner, 83, who runs the Wagner summer festival in nearby Bayreuth, has been naming her for some time as his successor. And she has just created a huge scandal. "The Flying Dutchman" is the story of a ghostly captain doomed to sail the seas forever unless he can find a woman willing to love him and dissolve his curse. Ms. Wagner did away with the supernatural: gone were the ghost ship, the eerie undead sailors and the final redemption. This "Dutchman" is played out in the underbelly of a German port. Senta knew the Dutchman’s picture from "Wanted" posters. The natty attire of the Dutchman and his men immediately branded them as misfits: helpless, trying not to attract attention, they incensed the lowlifes through their sheer otherness, and were beaten to a pulp. Ms. Wagner’s staging is particularly provocative because she is supposed to bear the standard of the Wagner family. Her father has been running the Bayreuth Festival for more than 50 years, and the conventional wisdom is that artistic stagnation has set in. His own board voted him out in 2000 in favor of his estranged daughter from his first marriage, Eva Wagner-Pasquier, a seasoned opera administrator. Mr. Wagner, however, ignored the explicit demand for his resignation, pointed out that his contract was for life, and cited Katharina as the only family member he’d consider as a successor, an idea that seemed absurd, given her youth and lack of experience. Conservative Wagnerites, however, adore Mr. Wagner. So it seemed that the Wurzburg chapter of the Richard Wagner Society had found a fitting way to celebrate its 20th anniversary: by donating nearly $20,000 and enabling the struggling Mainfranken Theater to mount a new Wagner production, it would offer a professional directing debut to Mr. Wagner’s chosen heir. One can imagine the society members running for the exits. Storms of boos, alternating with bravos, buffeted the production team at the premiere. "The reactions were very violent," Ms. Wagner said. "One woman said to me, `I know how Richard Wagner meant it.’ That would be a real sensation if she really did." The critics did a similar about-face in the opposite direction. Having arrived ready for blood, the majority had to admit that Ms. Wagner had come up with a serious production. In the national paper Die Zeit, Wolfram Goertz compared Ms. Wagner to Brünnhilde in Wagner’s "Ring" cycle, defying her father to carry out his secret wishes. "For the first opera production of their `brave magnificent child,’ the Wagners are to be envied," he wrote, quoting Wotan’s apostrophe of his daughter. Ms. Wagner’s direction, despite some stiff moments, passes the test. Rather than forcing an abstract concept on the work, it grows out of a close reading of both text and music. The larger concept is also sound. In the Act II love duet, the two obsessive misfits, lost in their fantasies of what love could be, sing past each other. Ms. Wagner took pains to assure an arriving critic that her vision was transmitted better by the first cast than the second seen on Saturday night. And in a 750-seat theater that casts mainly from its own ensemble of singers, expectations are different from those in Bayreuth. But for a house of this size, it was a respectable performance. Ralf Lukas, a guest singer from Berlin, was a lyrical, handsome and only sometimes forced Dutchman, a role that in a bigger house would lie beyond his reach. Michail Litmanov was a growly Daland who seemed convincing in Ms. Wagner’s vision of a corrupt, flashy bully. As Senta, Joanna Porackova, another guest artist, transmitted the character’s obsessive passion with warmth, although the role strained the top of her voice. As Eric, Senta’s fiancé, Gilbert Mata showed the making of a nice big tenor, although he seemed a little taxed by the role. The house’s music director, Daniel Klajner, conducted an orchestra that sounded energetic if rough. With this radical direction Ms. Wagner does figuratively defy her father, a bulwark of artistic conservatism. Indeed she damned him with faint praise. "My father taught me a lot about the craft of direction," she said. "He’s a real expert at his craft ? whatever you want to say about his aesthetics." She was speaking on her cellphone from vacation before her next project: starting school in Berlin. She was guarded about her professional plans, reiterating only that she would not stage anything at Bayreuth anytime soon. "People wait seven or eight years to get a ticket to Bayreuth," she said in what already sounds like a polished sound bite. "They have a right to get a director with experience." She’s got some now. And wherever she goes to earn her next professional stripe, she’s already made the status quo at Bayreuth look a lot more interesting. |
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Más información (en alemán) en la siguiente: http://www.omm.de/veranstaltungen/musiktheater20022003/WUE-der-fliegende-hollaender.html Saludos, JulioAF |
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¡¡Madre mía!! "Das Ende! Das Ende!" |
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!!!!!! Joer, parece ser que los biznietos de Wagner están a cada cual mas loco. Entre los desvaríos de Gottfried, las payasadas de Nike (identificar el Rhin una pecera y demás) y ahora esta gilipollada de Katharina no se donde iremos a parar. Estos tíos están totalmente incapacitados para dirigir Bayreuth. ¡Eva vuelve!¡Tu pareces la mas razonable de la prole (aunque esto no sea decir mucho)!. Y todavía nos quejamos de Wolfgang... madrecita que me quede como estoy. |
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| Lo mismo pensé yo... |
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| Caramba... me estreno hoy en el foro tras conocer hace poco la página de wagnermanía y qué mejor manera que mostrando mi indignación por una nueva barbarie digna de Kupfer... pero ¡¡¡¡cometida por una Wagner!!!! esperemos que no sea ésta la futura heredera... bastante tenemos con el nieto para que lleguen los bisnietos ¡¡¡¡Cómo se revolverán en su tumba el Maestro, Cósima, Sigfrid y Winifred!!!! |
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No puedo hablar de este Holandés de Katherine, pero debo decir que no todo es malo. Hay puestas en escena modernas, algunas de Kupfner sin ir más lejos, que no están nada mal, y que están más acorde con el sentido de la obra, que otras consideradas clásicas. Es posible, y esto puede dar entrada a otro debate, que si Wagner pudiera hablar nos dejaría atónitos con sus ideas de la puesta en escena. Seguro que no serían clásicas. Su música siempre estuvo por delante de todo, en el tiempo y en el concepto. Francesc |
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Yo sólo conozco una producción de Kupfer del Holandés (la de Bayreuth, en vídeo, con dirección musical de Nelsson), y se carga totalmente el sentido de la obra, igual tú te refieres a otra producción suya sobre la misma obra. Yo no estoy en contra de la innovación en la puesta de escena, sólo estoy en contra de que se destruya la unidad dramática y el significado de la obra en cuestión. Pienso que si Wagner viviera (todo especulación, claro) nos sorprendería en muchas cosas, a todos los niveles, incluído el escénico, pero lo que seguro que no haría es contrariar el sentido de su obra y destruir la unidad. Saludos. |
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Perdona. Hablaba en general, y pensaba en un Tanhauser de 1990 aprox, en el que destacaba especialmente el segundo acto; y la tetralogía de Bayreuth de la misma época. Y siempre hablando de puestas en escena, creo que el polémico Lohengrin de Konwitchny respeta totalmente el sentido de la obra. Puede parecer paradógico si no se ha presenciado, y solo se ha leido sobre ello. Que si un colegio, que si tirarse avioncitos...Pero el efecto de la puesta en escena fue mucho mejor que el de alguna de Gotz Freidrick, aparentemente más clásica. Luego, otra cosa: Creo que si una opera de Wagner está bien dirigida, cantada y actuada, poco más hace falta.... Francesc |