Back from Bayreuth, the Wagner temple, where
worshippers of Wagner flock for their annual ritual. The quality of the opera
productions in Bayreuth has been deteriorating for years – a not untypical
outcome of a family run business, in which the main criterion for leadership is
being a descendant of the founder, in this case of Richard Wagner.
There was special anticipation this year, for
the opening night was a new production of Tristan
und Isolde, directed by the now sole director of the Wagner Festival, great
granddaughter of Richard W, Katharina Wagner. In true Nibelungen style,
Katharina got rid of her co-director and half-sister Eva. Eva has not been
killed but rumour has it that she is not permitted to tread the “Green Hill”,
i.e., the temple grounds.
The production had some quirky und
unnecessary ideas. Unfortunately, most of the time, the stage was under lit,
and it was hard to impossible to distinguish facial expressions and mimicry.
This would point to Katharina’s lack of professionalism. But, all-in-all, it was
fairly safe, which should ensure Katharina’s acceptance by the Wagnerians.
The evening’s real disappointment – to my
mind - was the great Wagner and Strauss specialist, conductor Christian
Thielemann. In interviews he explained how the music had drug-like impact on
the senses, that it could in fact be life threatening. It didn’t. The second
and third acts of Tristan und Isolde,
in which one normally gets goose bumps, left my skin in peace. But, Wagnerians
love their Thilemann, who has so clearly tied his flag to the Bayreuth (“a
house to which my heart is bound”). He is indeed a very gifted conductor, whatever
his other failings may be and the singing (except perhaps that of last minute
cast change Isolde) was very good.
Thus, the druids of the Wagner Temple, had a
good opening shot for this year’s events.
