Conquering Wagner.

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  • David-G
    Full Member
    • Mar 2012
    • 1216

    Originally posted by Mandryka View Post
    Apologies, EA, for the VERY LATE response. Israel, from what I saw of it, is a bit of a cultural (not to mention literal) desert, but the bigoted attitude of many Israelis toward RW would appear to be very much alive, as any conductor who attempts to programme anything by this composer soon disocvers. I can believe, though, that all the fuss if caused by a minority of so-called 'intellectuals' who are able to shout above their weight.
    I think many Israelis would be surprised at their country being referred to as a "cultural desert". Be that as it may, I am surprised by your use of the term "bigoted". Do you not understand the reason for the attitude of many Israelis to Wagner?

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    • Mandryka

      Originally posted by David-G View Post
      I think many Israelis would be surprised at their country being referred to as a "cultural desert". Be that as it may, I am surprised by your use of the term "bigoted". Do you not understand the reason for the attitude of many Israelis to Wagner?
      At a push I can understand it, but I have absolutely no sympathy whatsoever with it.

      If these bigoed Israelis bothered to do a bit of elementary research, they'd discover that the composer they are so dead set against actually employed Jews in prominent positions in his own opera house - pace, his own bigoted statements about 'Jewishness in Music'.

      Besides which, RW can hardly be held responsible for the actions of his 'fans', can he?

      Comment

      • David-G
        Full Member
        • Mar 2012
        • 1216

        Originally posted by Mandryka View Post
        At a push I can understand it, but I have absolutely no sympathy whatsoever with it.

        If these bigoed Israelis bothered to do a bit of elementary research, they'd discover that the composer they are so dead set against actually employed Jews in prominent positions in his own opera house - pace, his own bigoted statements about 'Jewishness in Music'.

        Besides which, RW can hardly be held responsible for the actions of his 'fans', can he?
        I agree completely and absolutely with everything you say. Except for your declared lack of sympathy and your use of the cruel word "bigoted".

        I can understand, even if you cannot, that people who either themselves or whose loved ones have been through the searing experience of the Holocaust, may hold views on this matter that are not altogether rational. And I would be charitable toward such views, even though I do not agree with them.

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        • MrGongGong
          Full Member
          • Nov 2010
          • 18357

          Surely music has "nothing to do with politics"
          at least that's what the LPO and Wigmore insist ........... erm indeed

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          • David-G
            Full Member
            • Mar 2012
            • 1216

            I have just returned from a marvellous evening at the Festival Hall. The Zurich Philharmonia and Opera House Chorus perfomed The Flying Dutchman. A wonderful young conductor, Alain Altinoglu, whom I had not come across before, conducted with great verve and precision. The chorus sang superbly. There was a wonderful set of soloists. Bryn Terfel was a magnificent Dutchman, Anja Kampe was a model of a Wagner soprano as Senta. The Steersman, although a minor role, was sung most musically by Fabio Trumpy. I greatly enjoyed his aria in the first act. Everyone sang without scores, and the soloists acted their roles at the front of the stage. The whole was a convincing and often thrilling drama, and there was no producer to wreck everything with a "concept". The full Festival Hall responded with a standing ovation.

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            • Mandryka

              Originally posted by David-G View Post
              I have just returned from a marvellous evening at the Festival Hall. The Zurich Philharmonia and Opera House Chorus perfomed The Flying Dutchman. A wonderful young conductor, Alain Altinoglu, whom I had not come across before, conducted with great verve and precision. The chorus sang superbly. There was a wonderful set of soloists. Bryn Terfel was a magnificent Dutchman, Anja Kampe was a model of a Wagner soprano as Senta. The Steersman, although a minor role, was sung most musically by Fabio Trumpy. I greatly enjoyed his aria in the first act. Everyone sang without scores, and the soloists acted their roles at the front of the stage. The whole was a convincing and often thrilling drama, and there was no producer to wreck everything with a "concept". The full Festival Hall responded with a standing ovation.
              Despite not being a fan of Terfel, I wish I'd been there.

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