Richard Wagner and “The ring of Nibelung”.
German composer Richard Wagner has devoted the creativity to a musical-scenic
embodiment of the German mythology and medieval legends. At the end of 19
centuries it has managed (on donations) to construct in small small town
theatre Wagner's operas (and it is extreme in the summer) were put exclusively.
For these seasons gathered from all Germany and Europe. It self
About influence of creativity of Wagner on Russian culture we shall talk another time. It is necessary to tell only, that tragic events of 20 centuries have changed current of world history.
Long post-war years the tradition Wagner’s festivals glimmered in
That time, on a stage of theatre have gone “Tristan und Isolde”, “Die Meistersinger von Nürnberg”, “Lohengrin”. I not the expert in the field of musical culture therefore have addressed to incomparable to more competent people. Their opinion is those: the orchestra is very good, dramatic art too, and here voices of singers “are swinging”.
Me scenery to performances also interested. In this respect, "Tristan" and "Lohengrin" have made depressing impression. In the first case the transparent curtain before a stage on which light patches of light and a stain of abstract kind (lines, pieces, elementary geometrical figures) were projected has been used. Scenery of a stage was so conditional also. But here was though any logic (the artist-director was the representative modern ‘the left art’).
"Lohengrin" it has been solved within the framework of a graphic aesthetics of a postmodern (that is absence those). In suits there was a mixture of styles. The German Middle Ages, the military form of Kaiser Army... Ortruna in a ladies' suit of the end of 19 centuries and malicious knight Telramund in an overcoat of a sample of the Second World War - all has mixed up. The significant part of actions occurs on a table reminding tennis (and around of it). Above There is the huge orange sun which children like to draw in a corner of a picture. Telramund has shaved after exposures. In general as one my German friend has told: "It any more avant-gardism, and nihilism".
scenery “Die Meistersinger von Nürnberg” has made
favorable impression. Probably, it is connected by that producer of this statement
was Wolfgang Wagner keeper
Now about statements in Mariinsky
The first if I am not mistaken has been put "Parsifal". I did not manage to look it, but all of us saw photos of scenery. The artist-director Palmer (USA) who, besides, has enclosed the fair sum in performance was. It has decided to carry out statement ‘in Russian style’. Scenery, basically, represented the increased images of icons. Malicious magician Klingzor Palmer wished to see like Ivan Groznyy (nevertheless, the artist answering for suits, it was possible to bring in Gothic spirit to statement of this Gothic opera of Wagner written on a plot of Gothic novel.
Somebody to me that one of modern European statements "Parsifal" in attempt of temptation of the hero solved a stage of attempt as follows: the pure knight enters the magic garden of pleasures consisting of monitors, one of which close up shows lips of the woman, other its breast, etc... It would Seem, an antipode of statement of Palmer, and, as a matter of fact, the same.
here I on Friday have looked “Götterdämmerung”
(Twilight of the Gods) in
The second female heroine - competitor Brunhild Gutruna was not too expressive. Valery Stenkina is good performer of demonic roles (Manon Lescaut, Kundri). But, unfortunately, image Gutruna, so significant in "Edda" and epos “Nibelungs”, at Wagner has not received adequate reflection. And the suit was not too successful.
again we smoothly pass to graphic aspect of statement. Scenery has been
submitted with grey rude figures of giants and
dwarfs, and some "roof" with hatches
which that rose fell (is recollected
of heroes, as a whole, are quite good. Costume designer Tatyana
Noginova tried to show certain ‘eternity’ of plot. Somewhere it was possible to it.
Prophetic Nornir, with
their gray-haired antiquity, are successful. Brunhild
reminds "Valkyrie, bringing a horn to the hero in
Here it is necessary to tell about aesthetic and conceptual views of the composer. Richard Wagner was not simply "musician" its creativity represented the scale cultural phenomenon. The German musical genius has acted against brilliant, but the superficial approach Giuseppe Verdi (in "Aide" not enough ancient Egypt - though she has been written to opening Suez canal; and in "Navuhodonosor" and that it is less than ancient Babylon).
Wagner itself wrote the libretto of the operas, thus thoroughly being based on northern legends. And, it is necessary to tell, it has remained is true not only to their letter, but also spirit. Certainly, the composer has subjected a material to the certain processing. Having taken for a basis of “Der Ring des Nibelungen” Scandinavian “Edda”, it has replaced names of heroes with names medieval German "Nibelungs". It has been quite allowable - in fact both texts occur from one source. "Edda" is densely sated with a mythological fantasy, road Wagner's to heart (and not only it). But it was necessary to create the German opera.
There are also more creative changes connected, in particular, with adaptation of a material to philosophy of the Modernist style and Neo-romanticism, rather successfully made by Wagner. Actually, the composer has deformed nothing, and has simply revealed new senses in the Myth.
What ideal of statement of operas of Wagner presently sees? Probably, simply to come back to suits and scenery of 19 centuries not necessarily (though separate statements and could be sustained in style of a retro). Wagner's operas simultaneously national and humanistic (as well as in general, Mythology). At the same time, elements of style - winged helmets, boards and an amour by virtue of the big aesthetic expressiveness are simply necessary (the same as, for example, ancient Greek helmets with red crests are necessary in the Greek plots). But Richard Wagner dreamed of returning high mission of art in its antique sense; it dreamed, that new art will help the modern person to overcome painful dichotomy consciousnesses; will return it to harmonious synthesis.
While it, unfortunately was not possible. The opera exists, as well as in the nineteenth century, for uslazhdenija hearing and a look (or, for example, that was where to invite lady - not nevertheless on restaurant to go J). Seriously it is quite worthy "the justification of art ".
Mariinsky theatre is beautiful, no
doubt, but feel, how Wagner chokes in its frameworks (as, however, and