Cosima Wagner and ‘Tannhäuser’

Cosima Wagner is often interpreted today as the ‘black sheep’ in the Bayreuth history. Whenever someone wants to criticize Richard Wagner and his works, blame is given also to Cosima as the major source of troubles. But I would say that without Cosima there would be no Festspiele in Bayreuth anymore. She did persevere after Wagner’s death with all her strength (after a phase of deep mourning) to bring his artistically visions into life. She was the daughter of Franz Liszt and the Countess d’Agoult, both strong personalities who dedicated their lives for art in a higher (spiritual) sense. Cosima Wagner did therefore understand Richard Wagner’s artistically intentions fully and felt compelled to assist him. Without her and Franz Liszt Wagner’s life would have been even more difficult. Contrary to many reports she was close to her father till his death and Liszt did not die alone in Bayreuth, no, he did die in her arms. All can be read in an article I did write for the Festspielnachrichten/MS 2008: “Selbstbestimmte Lebenswege”.

This summer the Bayreuth Festival will open with ‘Tannhäuser’. 120 years ago, on July 22 1891, Cosima Wagner did bring the opera for the first time on the stage of the Festspielhaus in Bayreuth. Stage director: Cosima Wagner, Conductor: Felix Mottl, 1894 the production was conducted by Richard Strauss. Here a statement of Cosima Wagner:

“(Tannhäuser) was our task par excellence, since what we were dealing with here was a battle between opera and drama, and since the melodic richness of the work had until now overwhelmed its poetical content to such an extent that our chief priority was a dramatic reworking of the piece in which the music, for all its wealth of melody, would no longer affect the listener simply as music but rather as the expression of particular characters and situations.”
Cosima Wagner, in an unpublished introduction to a review of the Festival of 1891

Siegfried Wagner (assistent to Cosima Wagner in 1891) writes in his memories 1923:
“Unfortunately, it was not only her sworn enemies who threw obstacle upon obstacle, which was already a difficult situation, no, it was also her so-called friends. A certain type of hyper-Wagnerian began to appear and they proved to be even more objectionable than our actual enemies: this were people who spent the whole day with quoting excerpts from my father’s writings.(…) These ‘supporters’ considered my mother as not sufficiently Teutonic. They knew that on her mother’s side she had French blood in her veins, and that she had been brought up in Paris. These were highly disturbing factors, encouraging her enemies to doubt in the Germanness of her outlook!

The most absurd witch-hunt was launched against her on all levels when my mother announced the production of Tannhäuser.(…) An initial source of indignation was the fact that a production of this opera was in planning now for Bayreuth, it was said that this work was immature, still partly an ‘old style’ opera and this with the additional scene written for Paris, the very word caused people to shudder with horror! Not only her enemies but her apparent friends as well joined forces in order to discredit my mother as much as possible in the public. And when the day of the performance finally came, much turmoil began. But, as often the case when malice seems to triumph, the opposite was the result. The Tannhäuser production witnessed in the year 1891 a decisive battle. My mother had won.”

So far Siegfried Wagner. Text source is the program of the Bayreuth Festival 1985. The translations into English from the program were slightly modified by me; the original translation seemed not always convincing.

If we make the effort and read the personal letters of Richard Wagner, Cosima Wagner, Franz Liszt and the many other witnesses, then a very different picture of the personality Cosima Wagner will be revealed. Many statements that are actually not true, but are repeated again and again during the years without verifying, now stand nearly as truth.

A little side note to Cosima’s family tree. Still it is not known to many that Cosima’s grandmother was German, a daughter of the Bethmann banking family in Frankfurt/Main. Marie d’Agoult spent many summer weeks with the family of her mother in Germany and did meet J.W. von Goethe many times during her childhood. All this can be read in her memories.

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Das unheimliche Erbe

Wagners ‘Ring’ à la carte?

Nun macht sie wieder Schlagzeilen! Um Katharina Wagner war es recht ruhig geworden. Cord Garben hält ihr die Steigbügel zum neuen Eventauftritt. Angeblich hat Garben entdeckt, dass der Ring gekürzt werden muss. Erda und die Nornen spielten keine wesentliche Rolle im Werk, und Richard Wagner soll ja eine Überarbeitung der Tetralogie noch vor seinem Tod angekündigt haben. So einfach ist das. Das Teatro Colón in Buenos Aires findet das Zurechtstutzen des Werks super und lädt zur Pressekonferenz in Berlin, dem Wohnort von Katharina Wagner und Cord Garben. Sieben anstatt sechzehn Stunden soll die Aufführung des Rings nun dauern. Und warum, weil ihn die Erbin von Bayreuth nicht versteht? Also bastelt sie sich schnell eine eigene Geschichte? Das wäre schon dreist.

Im Ausland wird der Künstler Richard Wagner mit Dante, Shakespeare, Goethe und Schiller auf eine Stufe gestellt, aber im aktuellen Deutschland scheint man die geistige Dichte seiner Werke immer noch nicht verstehen zu wollen. Auch die neue Direktion in Bayreuth scheint damit einige Schwierigkeiten zu haben, warum hat man immer noch keinen Regisseur für 2013 gefunden? Darf Katharina nun in Buenos Aires für den Notfall üben? Dann könnte man schnell die gekürzte Fassung in Bayreuth ins Rennen schicken, falls wieder eine kurzfristige Absage von einem überforderten Regieteam käme. Doch: Erstens kommt es immer anders als man denkt, und letztendlich siegt immer die wahre Kunst!

http://www.zeit.de/kultur/musik/2011-05/wagner-ring-buenos-aires

Spring in the City, freshen up your Brain!

I live in walking distance to the city center and this morning it was especially beautiful in this gorgeous spring weather to walk. After my appointment, I strolled through the streets, happy people everywhere, who enjoyed this sunny day. I chose a detour through the park and had a cappuccino on a terrace. The magnificent chestnut trees were in full bloom, the fresh green of the trees was particularly invigorating. I noticed how my strained brain was relaxing after a hard week. Once again, I could feel the two brain halves being in harmony. Left/right side of the brain is not a fairy tale, we need both sides in harmony in order to meet the challenges of life. Also rhythmic movement and music unblock the left brain and stimulate the right brain. A balance of both halves of the brain is absolutely necessary for a healthy and powerful life. Recent research in the U.S. has indicated that the heart is connected with the right brain. If this exchange is disturbed, it may cause heart disease.

It is therefore vitally important that stage directors do not neglect this fact when putting operas on stage. The effect of the music should influence the concept. Without generally condemning the German Regietheater, I like to point out that focusing exclusively on the negative aspects of the existence ultimately will not succeed. The aspect of hope, contained in many operas so strongly, should not be overlooked. A society can survive only when the ethical principles of life are also brought on stage. In particular Richard Wagner has understood these principles very well and skillfully integrated them into his works. The musical score should go hand in hand with the philosophical dialogue of his operas. The public does have a very fine sense for these aspects and does not need education from the stage directors who love to indulge in their own personal dark view of existence

Richard Wagner und seine Opern

Heute war in der Presse zu lesen, dass Nike Wagner die Meinung vertritt die Oper ‘Parsifal’ passe nicht zu Ostern, weil das Werk spirituell vielschichtig sei und nicht nur auf dem Christentum basiere. Na, das ist schon lange bekannt. Wann endlich wird einmal über die großen philosophischen Fragen diskutiert, die in Richard Wagners Opern enthalten sind und die Handlung all seiner Werke sehr vordergründig prägen? Ich habe ein Buch über diese Thematik geschrieben, leider momentan nur als Mail-Datei verfügbar, da die Druckversion vergriffen ist. Bei Interesse sende ich gerne ein PDF – 120 Seiten: Eine Mitteilung an seine Freunde, Richard Wagner – Künstler und Philosoph
midou_grossmann@yahoo.de
ISBN 3-00-012332-6
USA: http://catalog.loc.gov/ – Library of Congress

Brian Green: Das elegante Universum

Ich lese gerade dieses Buch, das Vorwort ist schon eine Antwort auf die Frage, die Judith Weir mit ihrer Aussage, siehe vorheriger Beitrag, aufgeworfen hat:

“Die letzten dreißig Jahre seines Lebens hat Albert Einstein damit verbracht, unablässig nach einer sogenannten einheitlichen Feldtheorie zu suchen, einer Theorie, die in der Lage sein sollte, die Naturkräfte in einem einzigen umfassenden und schlüssigen System zu beschreiben. Dabei ging es Einstein durchaus nicht um die Dinge, die wir häufig mit wissenschaftlichen Bemühungen verbinden, etwas den Versuch, dieses oder jenes experimentelle Ergebnis zu erklären. Vielmehr beseelte ihn die leidenschaftliche Überzeugung, das Universum werde, richtig verstanden, am Ende seine tiefste und wunderbarste Wahrheit offenbaren: die Einfachheit und Kraft der Prinzipien, auf denen es beruht. Einstein wollte die Gesetzmäßigkeit des Universums mit nie zuvor erreichter Klarheit beschreiben, damit es sich der staunenden Menschheit in seiner ganzen Schönheit und Eleganz erschließe.

Diesen Traum hat sich Einstein nicht erfüllen können, vor allem, weil er unter höchst ungünstigen Bedingungen antreten mußte: Damals wurden viele wichtige Eigenschaften der Materie und der Naturkräfte noch gar nicht oder bestensfalls unzulänglich verstanden. Doch in den letzten fünfzig Jahren hat jede neue Physikergeneration – über viele Umwege und Sackgassen – Entdeckung um Entdeckung zusammengetragen, die Arbeit der Vorgänger ergänzt und auf diese Weise die Voraussetzung zu einem immer vollständigeren Bild des Universums geschaffen. Heute, lange nachdem Einstein sich auf seine vergebliche Suche nach einer einheitlichen Theorie begeben hat, glauben Physiker, endlich ein System gefunden zu haben, mit dem sie diese Entdeckungen und Erkenntnisse zu einem bruchlosen Ganzen zusammenfügen können – einer einzigen Theorie, die im Prinzip fähig sein müßte, alle physikalischen Phänomene zu beschreiben. Um diese Theorie, die Superstringtheorie, geht es in diesem Buch.”

Quelle: Taschenbuch Goldmann Verlag 2006 – Brian Green – Das elegante Universum ISBN: 978-3-442-15374-9

Is life just a challenging game?

Did think about this question when reading the new Bregenz Festival Magazine, an interview with composer Judith Weir.

She claims: There is no fate – only coincidences. This motto also applies to her new opera ‘Roller Coaster ‘ or ‘Achterbahn’, which will have its world premiere this summer in Bregenz. I wonder how it can be possible that humans can be created in an universe – which is entirely based on laws – outside of any order? Emerging from nowhere, as male or female, poor, rich, healthy sick? No, we are subject to the law of cause and effect as anything else on this planet. It would be desirable that Bregenz could understand the motto of Judtih Weir as a question and have some discussions around this vital topic during the summer weeks. The composer says there is not such a thing as ‘destiny’.

http://presse.bregenzerfestspiele.com/de/node/3438

What are you thinking about our ‘Gastspiel’ on the planet?

Have a good week – MIDOU