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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:Thu, 22 Jun 2017 09:15:11 -0400
Content-Type:text/plain
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I don't care what Thomas Mann, Robert Wilson, or Leonie Rysanek
felt about it, the only part of LOHENGRIN associated with the color
of a clear sky is the Prelude,  which the composer described as a
vision of the Holy Grail emerging "out of the blue", so to speak.  That's
it, period, curtain going up on a grassy meadow on the banks of the
Scheldt.   You're right about Beni Montresor, a very great designer
for the stage.

dtmk

On Thu, Jun 22, 2017 at 12:24 AM, David M. Wagner <[log in to unmask]>
wrote:

> Lohengrin is certainly blue, but:
> - Ming Cho Lee varied from the usual, very successfully;
> - Robert Wilson's return to blue almost seems like a mockery of
> Lohengrin-bluists;
> - *any* set by Beni Montresor was great, even if the Met wasted him on
> Gioconda and Elisir. NYCO gave us a gorgeous Montresor Flute and Turandot.
> No diss to MCLee, but he'd have designed a great Boris.
> - Very few operas, imho, have the link to any color that Lohengrin has to
> blue. Nozze should be pink in the foreground, slowly darkening blue on the
> cyc. It never is any more.
>
> -David Wagner
>
>
> Sent from my iPhone
>
> > On 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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