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Subject: Re: Operatic color schemes
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Wed, 21 Jun 2017 11:32:47 -0400
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Wagnerian opera without green is difficult for me to imagine; it is
essential throughout PARSIFAL and most of the RING, in the second
act of TRISTAN, and the third act of MEISTERSINGER.   Perhaps
HOLLANDER can do without the shade, especially if set in the icy
winter, like the Met's aging and decrepit production.

Rysanek's blue LOHENGRIN was ostentatiously endorsed (inspired?)
by Robert Wilson, who carried it to an insistent and boring excess.  My
favorite, though not dominantly green, was the LOHENGRIN adapted
from a Wieland Wagner Bayreuth staging that was inspired by the
glowing colors of medieval stained glass: unforgettable after fifty
years.

dtmk

On Wed, Jun 21, 2017 at 10:16 AM, Max Paley <[log in to unmask]> wrote:

> When Leonie Rysanek came to San Francisco to sing her first Ortruds in
> 1982, she was shocked at Beni Montresor's pink and gold sets as well as the
> costumes. Her comment: "But I thought "Lohengrin" was a BLUE opera!"
>
> Do others here think of certain operas as associated with color schemes?
> If so, do you find yourself unsettled when a production is markedly
> different from your association.
>
> I know I think of "Siegfried" as a green opera, dominated by forestry, at
> least until the last scene. That made me very bothered by Francesca
> Zambello's industrial greys, particularly for Act 2.
>
> I also tend to think of "Parsifal" in terms of greenery. Hence I found
> myself off balance with the austere white of Lehnhof's production.
>
> Max Paley
>
> Sent from my iPad
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