bosiemoncrieff
Headphoneus Supremus
Breaking news: ran into someone from the Wagner Society of Northern California yesterday at the Wagner exhibition at the German Historical Museum, and he had a free ticket to Tristan on Friday in Leipzig. So no Mahagonny. Meistersinger in 4 hours, and Tristan on Friday! (Thank god I can make the 10:15 ICE back to Berlin.) Also got a ticket to the Flying Dutchman at Grange Park with Bryn Terfel next month.
I declined Lohengrin tomorrow because, you know, Meistersinger on Wednesday, Tristan on Friday, we all need some time off. (The Deutsche Historisches Museum has 3 exhibitions right now - Wagner, Marx, and Merkel - which sounds like the title for a hilarious sketch comedy show.)
Last night I was at the Philharmonie, with the Staatskapelle Berlin and Christian Thielemann. (Barenboim was in the audience, CT was filling in for an injured Herbert Blomstedt.) The maestro treated Berlin to the fastest Tristan prelude I’ve ever heard. It was indecent. Nothing had any time to flower or bloom. It was as if he had a game of poker that he was late to. (Artur Bodanzky received that complaint in the 30s for his blazing fast Wagner as well.) The liebestod was slightly better but also gave one the impression of constricted air. It felt like a bad joke to let the oboe solo at the very end hang for two or three times the conventional length. I am all for fast performances of Wagner, but whatever your tempi, you need to make the whole of it gel. The dynamics and so on need to "keep up" with the governing tempo. Here, it felt disheveled, as if it were coming apart at the seams, tripping over itself. The orchestra is superb, but still inferior to the Philharmonic. I heard a squeak or two in the brass.
He is a surprisingly energetic conductor, crouching down for piani, waving his arms for fortissimi, often doing a sort of knees-bent-while-leaning-back move and pumping his arms rhythmically. It was weird. Nevertheless, the Bruckner 7 that followed after intermission was excellent. The speed served that work quite well. I am also less familiar than with the Wagner, so my opinions are less specific and prescriptive.
I declined Lohengrin tomorrow because, you know, Meistersinger on Wednesday, Tristan on Friday, we all need some time off. (The Deutsche Historisches Museum has 3 exhibitions right now - Wagner, Marx, and Merkel - which sounds like the title for a hilarious sketch comedy show.)
Last night I was at the Philharmonie, with the Staatskapelle Berlin and Christian Thielemann. (Barenboim was in the audience, CT was filling in for an injured Herbert Blomstedt.) The maestro treated Berlin to the fastest Tristan prelude I’ve ever heard. It was indecent. Nothing had any time to flower or bloom. It was as if he had a game of poker that he was late to. (Artur Bodanzky received that complaint in the 30s for his blazing fast Wagner as well.) The liebestod was slightly better but also gave one the impression of constricted air. It felt like a bad joke to let the oboe solo at the very end hang for two or three times the conventional length. I am all for fast performances of Wagner, but whatever your tempi, you need to make the whole of it gel. The dynamics and so on need to "keep up" with the governing tempo. Here, it felt disheveled, as if it were coming apart at the seams, tripping over itself. The orchestra is superb, but still inferior to the Philharmonic. I heard a squeak or two in the brass.
He is a surprisingly energetic conductor, crouching down for piani, waving his arms for fortissimi, often doing a sort of knees-bent-while-leaning-back move and pumping his arms rhythmically. It was weird. Nevertheless, the Bruckner 7 that followed after intermission was excellent. The speed served that work quite well. I am also less familiar than with the Wagner, so my opinions are less specific and prescriptive.
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