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Subject: Re: Operatic color schemes
From: "David M. Wagner" <[log in to unmask]>
Reply-To:David M. Wagner
Date:Thu, 22 Jun 2017 00:24:54 -0400
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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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