Archive for the ‘Wagner’ Category

Obit watch: September 22, 2023.

Friday, September 22nd, 2023

Stephen Gould, tenor best known “as a leading interpreter of the operas of Richard Wagner”.

Bayreuth Festival website.

Mr. Gould established himself as a reliable heldentenor, a singer who takes on heroic roles, mostly in the German repertory, requiring a particularly powerful voice. Such roles are among the most demanding in opera.
He first appeared at Bayreuth in 2004, performing the title role in Wagner’s “Tannhäuser,” a production that dazzled Olin Chism of The Dallas Morning News.
“One of the heroes was American tenor Stephen Gould, who sang the title character,” Mr. Chism wrote. “This was his Bayreuth debut, and by the end of the evening he had become a festival favorite.”
He remained so over the next 18 years, performing in 20 Bayreuth productions; he regularly sang the title role in “Siegfried” and Tristan in “Tristan und Isolde.” He also performed in leading opera houses around the world, including with the Metropolitan Opera, where he made his debut in 2010 as Erik, the hunter, in Wagner’s “The Flying Dutchman.”

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Obit watch: April 25, 2019.

Thursday, April 25th, 2019

Wow. Lots going on.

This is breaking news: Lawrence beat me to it (because I had to wait for my lunch hour to post).

Former Williamson County DA Jana Duty was found dead in a South Texas condo yesterday.

I have a WCDA tag for reasons: if you go back and look, or read Lawrence’s post, you’ll see that former DA Duty was controversial and apparently had some issues during her tenure. But this is still a sad and awful thing.

Mark Medoff, playwright. He was best known for “Children of a Lesser God”, which won multiple Tony awards and was the basis for the Oscar winning Marlee Matlin movie.

This one is for Mike the Musicologist: Heather Harper, soprano.

An unanticipated performance in 1962 brought Ms. Harper international attention when, on 10 days’ notice, she substituted for Galina Vishnevskaya in the premiere of Britten’s “War Requiem.” The work was written to dedicate the new Coventry Cathedral in England, the original 14th-century structure having been bombed into ruin during World War II.
As a gesture of reconciliation, Britten, a pacifist, had intended the soloists to be the tenor Peter Pears (an Englishman), the baritone Dietrich Fischer-Dieskau (a German) and Ms. Vishnevskaya (a Russian). But the Soviet government refused to allow Ms. Vishnevskaya to travel to Coventry for the premiere. Ms. Harper, just turned 32, took her place and triumphed.

She did a lot of work with Britten (including Ellen in the 1969 BBC production of “Peter Grimes”) but she had a larger repertoire, including singing “Lohengrin” at Bayreuth.

Fay McKenzie, actress. Her story is interesting:

Ms. McKenzie made her screen debut in 1918, when she was 10 weeks old, cradled in Gloria Swanson’s arms in “Station Content,” a five-reel silent romance. Her last role was a cameo appearance with her son, Tom Waldman Jr., in “Kill a Better Mousetrap,” a comedy, based on a play by Scott K. Ratner, that was filmed last summer and has yet to be released.

She was also in five Blake Edwards movies and five Gene Autry movies. Ms. McKenzie was 101 when she passed.

Ken Kercheval. He did a lot of TV work (no “Mannix”, though) and was probably most famous as Cliff Barnes on “Dallas”. (He was also in “Devil Dog: The Hound of Hell“, which I’d kind of like to watch. Lawrence, however, does not seem to care much for movies involving demonic dogs.)

Finally, Grand Duke Jean of Luxembourg. Noted:

As the crown prince, he fled Luxembourg with the grand ducal family after Germany invaded the country in May 1940 and found refuge in France, Portugal, the United States and Canada before moving to Britain to join the Irish Guards, a regiment of the British Army, as a private in 1942.
He participated in the Allies’ invasion of Normandy in 1944 and fought in the Battle for Caen there. Three months later he took part in the liberation of Brussels.
Among other honors, he received a Silver Star from the United States, a War Medal from Britain and the French Croix de Guerre. He was promoted to colonel in the Irish Guards in 1984 and was made an honorary general of the British Army in 1995.

Posted in 1970s, Cops, Movies, Music, Obits, Theatre, TV, Wagner, WCDA | 2 Comments »

Obit watch: April 24, 2019.

Wednesday, April 24th, 2019

Henry W. Bloch, co-founder of H&R Block, has passed away at 96.

After the Japanese bombed Pearl Harbor, he enlisted in the Army Air Forces and served as a B-17 navigator, flying 31 combat missions over Germany, three over Berlin, and winning the Air Medal and three oak leaf clusters.

I don’t get as much of an opportunity to use these tags as I would like, so I have to note the death of Verena Wagner Lafferentz, Richard Wagner’s last surviving grandchild.

Ms. Lafferentz was the daughter of Wagner’s son Siegfried and his wife, the English-born Winifred, who was a fanatical admirer and a rumored paramour of Hitler’s. She met him at the Bayreuth Festival in 1923.

…

In 1940, she, too, was romantically linked to Hitler, although he was said to have been uncomfortable with how the public would perceive their two-decade age gap. She was known to be both flirtatious and unusually frank in her conversations with him about everything from culture to current events.

…

In 1943, when she was 23, she was back in the public eye when she married Bodo Lafferentz, who had joined the Nazi Party a decade earlier, had worked for Volkswagen and had since 1939 been a high-ranking officer in the SS, assigned to the Race and Settlement office.
He oversaw a rocket research center at an outpost of the Flossenbürg concentration camp, where, according to the book “Bayreuth, the Outer Camp of Flossenbürg Concentration Camp” (2003), Wieland Wagner recruited inmates as laborers to build sets for the Bayreuth Festival.

Posted in Music, Nazis, Obits, Wagner | Comments Closed

The Night They Drove Old Tosca Down…

Friday, September 27th, 2013

Barring a miracle, it appears the New York City Opera will file for bankruptcy next week and begin winding down operations.

The NYCO has been trying to raise $7 million before the end of September. So far, according to the NYT, they’ve managed to raise $1.5 million. They even have a Kickstarter: the goal is $1 million, but they’ve raised $194,549 (at this writing) with three days to go.

How did they get to this point? And how can New York City not be able to support two major opera companies?

…the company began running sizable deficits in 2003, and went dark for the 2008-9 season while its longtime home, the New York State Theater, was given a major renovation and renamed for its benefactor, David H. Koch. In doing so, it lost a year’s worth of ticket sales. Then the company raided its endowment, withdrawing $24 million to pay off loans and cover expenses.

The company cut back from “115 performances of 17 different operas” a decade ago to “16 performances of 4 operas” last year. The smaller number of performances has, in turn, resulted in a smaller number of patrons, and a smaller number of potential donors.

Apparently, the NYCO was in Lincoln Center up until 2011; then they moved out, and are now “an itinerant troupe at theaters across the city”. This may also have something to do with their problems. (I was confused about why NYCO was in Lincoln Center if the NYST was their home; if I understand Wikipedia correctly, NYST is actually part of Lincoln Center.)

And because they raided the endowment, the annual income from that source is now less than $200,000 a year – “less than City Opera makes from its Thrift Shop on East 23rd Street in Manhattan”. (If you try going to the Thrift Shop website, you’re confronted with an uncloseable fundraising appeal that completely obscures the rest of the content. Oh, wait; I hit the back button a couple of times and managed to close the fundraising appeal. Would you like to buy a piano? That’s a trick question: nobody wants to buy a piano.)

(O.M.G. Okay, I have to purchase this. If only as a gift.)

The back and forth in the NYT comments section is interesting, to the extent that any web comments section is interesting. Some folks complain about the unwillingness of the wealthy to step up and bail out the opera, others complain that of course the opera is failing because they present crap like “Anna Nicole” (while others point out that “Anna Nicole” is a critically acclaimed modern opera), and there’s a lot of blame for the management and board of NYCO.

There’s not really much more I can say about this, though I do find it interesting. I would be sad to see an opera company close down, in much the same way I’d be sad if a local restaurant that I liked closed their doors. On the other hand, it seems like the closure is the result of ten years of poor decision making, and there’s nobody to blame but NYCO itself.

Posted in Art, Music, Wagner | 1 Comment »

Quote of the day.

Wednesday, July 17th, 2013

Tannhauser asks for her intercession with God, and dies of opera.

–Ken @ Popehat

Runner-up, also from Ken:

Note: I have not used umlauts, because Hitler.

Posted in Music, Nazis, Wagner | Comments Closed

Art, damn it, art! watch (#36 in a series)

Thursday, May 9th, 2013

BERLIN — A Nazi-themed production of the Wagner opera “Tannhaeuser,” which featured scenes of gas chambers and the execution of a family, has been canceled in Germany after some audience members had to receive medical treatment for shock.

More:

At the opening of the opera Saturday evening, naked performers could be seen falling to the floor in glass cubes filled with white fog. The production showed a family having their heads shaved and then being shot. The character of Venus, goddess of love, was depicted dressed in a Nazi uniform and accompanied by SS thugs, according to the German magazine Der Spiegel. The production was booed by audience members, German media reports said.

Posted in Art, Clippings, Music, Nazis, Wagner | Comments Closed

Class acts.

Monday, November 15th, 2010

Friday’s XKCD started me thinking.

Here’s Randall Munroe, who’s established a pretty significant business providing content for free. He’s facing a tough family situation, so what does he do? He explains what’s going on to folks, providing as much detail as he’s comfortable with, thanks people for their support, and basically promises to keep on as best as he can.

Randall Munroe is a class act. Randall Munroe makes me want to buy stuff from his store.  (And today’s XKCD is pretty funny. Or maybe I’m just a sucker for Wagner references.)

When Ryan North goes on vacation, or on his honeymoon, he recruits guest artists for his comic. And a lot of them are pretty darn good. Ryan North is a class act. Ryan North makes me want to buy stuff from his store.

The Penny Arcade guys would probably be embarrassed by someone describing them as a class act, but look at what they do when they need time, or are busy at a con; or heck, look at what they do during the holidays.

There’s another web comic I read. It used to run five days a week. Then it started drifting down to four days a week. Then the artist had some personal issues and posted reruns for a while. Then he came back. It started drifting down to three days a week. Then two. Then once a week while he worked on other projects. Right now, it was last updated over a week ago. Two weeks elapsed between that update and the previous one, and a little more than two weeks between updates before that.

“He does it for free! How dare you complain?” Well, maybe. But right now he’s running a fund drive. In addition, part of his business model is providing premium content as an adjunct to the free webcomic. When he goes radio silent for weeks on end, what motivation do I have to pay for premium content, or donate money? Or even to keep reading his webcomic?

I feel like I’m coming perilously close to crossing a line. I don’t think artists have an obligation to keep providing stuff for free, forever. I can understand people becoming overwhelmed. But there’s a good way to handle that; the Randall Munroe way.

Posted in Art, Music, Uncategorized, Wagner | 4 Comments »

Ring-ers.

Tuesday, May 25th, 2010

The LAT has an interesting comparison of various recordings of the Ring cycle. (The article is slugged May 16th, but I did not see it on the LAT web site until it hit the front page today.)

One reason I find this article noteworthy is that it was written by Ethan Mordden, noted Broadway historian (among other accomplishments).

Posted in Clippings, Music, Wagner | Comments Closed

Catastrophe theory.

Sunday, May 16th, 2010

LAT subhead: “Pulling off the climax of Richard Wagner’s ‘Götterdämmerung’ will be a technical feat at the Dorothy Chandler Pavilion.”

Apparently, they don’t mean it will be a technical feat if they manage to avoid killing the singers who play Siegfried and Brünnhilde, as you might have expected. Instead, the LAT piece concentrates on the mechanics involved in staging the climax of “Götterdämmerung”.

For L.A., director Achim Freyer conceived the opera’s final sequence as a Brechtian peeling away of stage artifice to reveal the inner workings of the production.

…

Competing for stage space amid the Brechtian swirl are the Rhine Maidens, the villainous Hagen, the corpse of Siegfried and a chorus of Gibichungs waving their lightsabers.

Is it just me, or does someone seem to have a Brecht obsession? And lightsabers? WTF?

Note to self: next time I put together a DVD order, I need to make sure to add Sing Faster – The Stagehands’ Ring Cycle.

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Götterdämmerung.

Thursday, May 13th, 2010

I’ve been following the L.A. Opera’s staging of the Ring Cycle, and the associated “Ring Festival L.A.”, avidly. I’m excited by the idea of someone other than the usual suspects doing complete stagings of the operas, and I love the various events that have been arranged to go along with the staging.

But I wasn’t expecting Siegfried and Brunnhilde to openly revolt.

In separate interviews, British tenor John Treleaven, who plays the hero Siegfried, and American soprano Linda Watson, who plays Brunnhilde, said German director Achim Freyer’s avant-garde staging — which features a steeply tilted stage, bulky costumes and oversized masks — interferes with their acting and singing and poses excruciating physical burdens.

…

Watson called the set “the most dangerous stage I’ve been on in my entire career.…Your whole neck is tipped wrong. It’s very painful to do it for hours.”

As the LAT notes, this kind of public criticism during a production is rare. I’ve never heard of any performer claiming that a staging is actually physically dangerous, as Watson and Treleaven are. This makes me wish I had money and time to fly out to L.A.

Watson currently is the reigning Brunnhilde at the Bayreuth Festival

That must be a fun fact to drop at parties. “What do you do for a living, dear?” “Oh, I’m the reigning Brunnhilde at Bayreuth.”

Posted in Clippings, Music, Wagner | 1 Comment »