Second Time Through (From the Journals of Michael Wagner Book 1)

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The Birth of Tragedy is essentially a discussion of the relationship between Apollonian and Dionysian influences on art and culture. These, for Nietzsche, were symbols rather than concepts and his theorisation of the aesthetic was based on their opposition. Despite their apparent radical opposition they have in common a shared rejection of any mediated understanding provided by concepts or analysis. Apollo is associated with form and structure, whilst by contrast Dionysus is associated with energy, sexuality, fertility and nature; the pure Dionysian art is music.

However, according to Hutcheon and Hutcheon:. Instead it was a life-affirming interweaving of two forces: the energising Dionysian powers destructiveness [of individuality], cruelty, sexuality and the controlling Apollonian ones rationality, form, principium individuationis.

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The first Bayreuth Festival was an enormous disappointment for Nietzsche, he believed that Wagner was demonstrating an increasing and exclusive Germanic nationalism, together with a rampant anti-Semitism. The visual array was completed by some eccentric choices of costumes designed by Christina Cunningham. Isolde, sung by soprano Heidi Melton, was in a baroque wide panniered skirt in Act 1 which appeared to inhibit movement.

Tristan, the Australian Heldentenor Stuart Skelton, was progressively dressed onstage as a samurai warrior. Isolde, daughter of royalty, is being taken by sea from Ireland to her familially ordained wedding to King Marke in Cornwall, cementing a peace treaty between them. She is ostensibly furious. She had discovered his identity, but, intending to exact revenge, was checked by the moment their glances met. Now, as part of the peace deal, Tristan returned again to collect her; the libretto vaguely implies that in this, also, she was lured by her involuntary love for him.

Tristan too has overruled his affections by offering Isolde to Marke solely to ingratiate himself at court. The musical settings of their speeches alternate between her torrential denunciations and his, almost Elgarian, bluff complacency. Tristan is honour-bound to drink with her what he is convinced is poison.

Joy, guile-inspired, I bless you! It is lit by a deep blue nocturnal light.

Bear Make Den by Jane Godwin, Michael Wagner: | tumuformsesfhe.ml: Books

And it does not permit the singers much room for manoeuvre. This is where the lovers come together. And it is here that the re-use and development of material from one of the Wesendonck Lieder is most apparent. Marke confronts Tristan, who is unable to explain, only asking Isolde to follow him into death.

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The Act ends in this production with both Tristan and Isolde being strapped to hospital beds by paramedics in modern surgical dress, a staging innovation that was probably the most unpopular of all. Movement is accordingly confined to the front of stage. Tristan begins slowly to regain consciousness, obsessed with being reunited with Isolde. Kurwenal tells him that she has been sent for. The text here hints at an increasing ambivalence, in which Tristan has a longing for a Buddhistic, absolute obliteration as the only release from the torment of unrequited Liebe :.

A second party arrves with King Marke. Kurwenal, believing they are pursuing Isolde, challenges them, kills Melot before being killed himself. But Marke, having learnt about the potion from Brangane, is here to release the lovers from their ties. Isolde sings her final incandescent aria Mild und leise before succumbing to her own Liebestod.

It is certainly a weirdly transcendental expiry by the standards of operatic death, rather closer perhaps to a massive overdose of LSD. Synaesthesia would appear also to figure very strongly in this final scene.

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This is a feature much commented on by writers on this work. Shall I hear them?

Shall I taste them? And for Hutcheon and Hutcheon:. Isolde asks if she is the only one to hear the melody that sounds from him, a lamenting, reconciling, vibrating sound that physically penetrates her … she asks if she is feeling waves of soft air that sound around her, wondering if they are waves of perfume? While such a mixing of the bodily senses of sound, touch and smell does have its par, Isolde asks if she is the only one to hear the melody that sounds from him, a lamenting, reconciling, vibrating sound that physically penetrates her.

Melton as Isolde was felt by some to be overtaxed later on, but she was praised for her energy and volume in Act 1. The whole audiovisual array, as said above, was less successful for many. In creating Tristan , Wagner took sparse episodes from a medieval romance and invested them with layers of overwhelming oneiric, metaphysical content borne by music of indefeasible impact. Pehaps trying to match this richness with such monumental constructions onstage was not going to work if the very size of them would inhibit blocking and movement, which they appeared to do.


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The lighting software was far more adapted to this. Without doubt, it is difficult to originate successful production designs for this work. Short of a hackneyed reversion to a Celtic twilight with overtones of Jugendstil , historical settings do not suggest themselves readily. In this way the visual quality is one of suffocating bathos, which might make the music even more vividly declarative, rather like maniacally emotional subtitles to a silent film. Susan Broadhurst is an editor of BST. This paper was subjected to double-blind peer review and handled by another editor.

Susan Broadhurst is Professsor of Performance and Technology at Brunel University London, and is a writer and academic who has published widely in the field of experimental performance and especially, its interrelation with developing technology. Susan Gillespie. Grand Street , 32— The Telegraph.

The Guardian. The Musical Quarterly , 69 2 : — Fischer-Dieskau, D Wagner and Nietzsche. Joachim Neugroschel. New York: Seabury. New Jersey: Princeton University Press. The German Quarterly , 72 2 : — US: Harvest.

Cambridge Opera Journal , 11 3 : — Kant, I The Critique of Judgement. James Creed Meredith.

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Oxford: Clarendon Press. Kramer, D Dir. English National Opera. Coliseum Theatre, London Premiere 9th June. Opera on 3.

BBC Radio Iplayer. The Observer on The Guardian. Website 12th June. Philosophy , 82 02 : — Oxford: Oxford University Press. New York: Doubleday Anchor Books. Nietzsche, F The Birth of Tragedy. Walter Kaufmann. New York: Vintage. Nietzsche, F Ecce Homo. Roger Hollingdale.

New York: Penguin Books. Nietzsche, F Richard Wagner in Bayreuth. Anthony M. UK: Dodo Press. Porter, A Trans. Opera Guide , 6: 45— Opera Guide Series Ed. Nicholas John. London: English National Opera. Cornell: Cornell University Press. New York: Dover Publications, Inc. Service, T Tristan und Isolde. The Listening Service. Radio Iplayer. And the number of motifs that he throws around, like Jove hurling rocks at you, is absolutely flabbergasting. Can you give an example of a particular motif that transmogrifies and, in so doing, acquires new dramatic meaning?

When the motif of Valhalla is introduced, it is itself a transformation of the ring motif. The introduction of the ring motif in the opening scene of Rheingold is threatening and oddly unobtrusive. But then, after Alberich has stolen the gold and gone off, you get it much more clearly as the transformation music takes place to take you into the rocky height.

And you gradually hear the motif in thirds moving until it becomes, before your very ears, the Valhalla motif which is quiet and enormously noble.