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Subject: Re: Melot
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Tue, 27 Sep 2016 09:05:19 -0400
Content-Type:text/plain
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That's the way it is.  Rattle should have rebelled; the Prelude says all
that needs to be said in anticipation of the opera's opening; the
projections add
nothing.

Actually there is a shepherd's tune, sung by no one in particular, (a boy
keeps
wandering about the stage all through the act, who is supposed to be the
young Tristan, adding to the confusion, not to mention a hallucinatory
"flashback" that,
seems to represents a glimpse of Tristan's boyhood home) but there's still
that off-stage vacuum swallowing up the debut of Alex Richardson who ought
to be heard, if not seen, singing the shepherd's tune.

I leave it to someone else to delineate all the infelicities of this
staging, but might mention the frequent directorial annoyance of placing an
important
singer performing one of a work's highlights so far to one side of the
stage that a good number of patrons are forced to bend forward in order to
see it - in this case the Liebestod!  No excuse for that.

dtmk



dtmk

On Tue, Sep 27, 2016 at 12:38 AM, Kathy Boyce <[log in to unmask]> wrote:

> I'm sorry - but good singing, good orchestra, but no gold curtain?  Really?
>
> Kathy Boyce
> New Hampshire
>
> www.cafepress.com/operabayreuth
>
> [log in to unmask]
> ------------------------------------------------------------
> --------------------------
> And the night shall be filled with music......        Longfellow
>
>
> On 9/27/16, 12:30 AM, donald kane wrote:
>
>> His name is Neal Cooper, and it's his debut - poor guy doesn't even get to
>> deliver the mortal wound to Tristan, who simply stabs himself at the end
>> of
>> Act Two!   That does it for Wagner's idea of opening Acts One And Three
>> with
>> a couple of scene setting, atmospheric tenor bits - what happens in this
>> misbegotten production is the elimination of the second role altogether -
>> no shepherd in Act Three!  Be that as it may, I have always had a problem
>> with the Met's insistence on putting "off-stage" voices so far off stage
>> that they are just about inaudable;  Brangaene, tonight, suffered this
>> practice the most: one
>> of this opera's supreme inspirations went for nothing, unless you're
>> impressed
>> by projected swirling clouds; .even the chorus lost most of the exciting
>> impact it should have as Act One closes.  There is; as expected, no
>> curtain; will it survive this season?    If I had to choose between
>> ascending clusters of crystal, and the great gold curtain - but why should
>> I have to choose?  There's seldom much gained by substituting that big
>> black hole.  Pretty good singing for
>> the most part, and a thrilling orchestral performance, otherwise, a mess.
>>
>> dtmk
>>
>>
>> On Mon, Sep 26, 2016 at 8:29 PM, David M. Wagner <[log in to unmask]>
>> wrote:
>>
>> I'm liking the performance, but who's that ratchetty tenor Melot? Where
>>> are the great baritone Melots (Uhde, Weikl)? Or even first-class tenor
>>> Melots like William Lewis?
>>>
>>> And where are the commentators who understand this is an important
>>> character? No full cast was given after Act II - rather, everyone *but*
>>> Melot.
>>>
>>> Yes, in some of the medieval sources Melot is a dwarf, but Wagner did not
>>> go that route, and Melot should not sound like Mime, and a weak one at
>>> that.
>>>
>>> So who was he?
>>>
>>> -David Wagner
>>>
>>>
>>> Sent from my iPhone
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