Tannhauser artists roundtable at California

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2008年01月27日

カテゴリ： OPERA

Dr. Nicolas Reveles who hosts the panel discussion introduces the artists who are on the panel.

first question:
NR: What would you tell one of these people who has never seen "Tannhauser" before or who hasn't seen it in a super title era (audience laugh), what would you tell them to help them to prepare for the experience of seeing Tannhauser, I guess in a way I'm asking what are the things about Tannhauser we should look as an audience.

Petra: From my point Venus is difficult to say, because Venus is not the most important people.

Nick: oh, yes you are.- get over

Petra: - but is very actual the man who is looking for the- to find the -- to rude a right steps, my point of view for him to make the decision for the more sensual sexual life or more pure life, Elizsabeth. to make a decision between Venus and Elizabeth, I think this is my approach to this piece.

Conductor Gabor Otvos (he stands in - ) : For inside of Tannhauser is and even for Wagner himself, the most complicated piece and same time also the most popular. Wagner wrote two different versions, Dresden version and Paris version - and shortly before he died he said he never finished Tannhauser. But it doesn't interest public because is the most popular piece of Wagner. Why? Because of the beauty of this music also this is as Miss Lang said it was actually in the certain way from the texture from the same, musically wonderful piece, -now if I would be musically can't say what less than pieces what he wrote later, the fact is fascinating for everybody must have the reason and the story probably something which can be actual, can be also profession but something very romantic, big romantic opera of all the incredible romantic opera. My point of view it is miracle of beauty, wonderful music, very dramatic, I can't imagine somebody doesn't like Tannhauser, the fact afterwards, between the Dresden version and the Paris version he wrote, Meistersinger and Tristan, very important make the difference he learned a lot more instrumentation men think he should bigger schnell sound of orchestra, we do here Dresden version, the first version which is much more classic, I would say. Wagner, if you have misunderstanding for Wagner, then this is the most understandable Wagner. But I know all of our words fanatic so Wagner, like- - I don't like the Wagnerian because they like only Wagner (people laugh) so many other pieces also.

Nick: so much more operatic universe,

Gavor: But I'm sure I conduct Wagner, then for this time I also became Wagnerian (MC Nicolas Reveles laughs)

Nicolas Reveles : speaking with the Tenor?

Robert Gambill: That's me (smiling). -- What's the question again, Nick? (people laugh) -- don't let me answer three questions I remember single question,
when I was at home 9 o'clock in the evening, sitting there, zapping to the programme, I see Nick on the TV! (astonishing) (Nick laughs) he was telling us about Tannhauser, that's what you do. You turn on TV and you watch Him! (appointing him) tell you what is about. Don't ask the tenor! (laughing ) The tenor can't tell you the lots of staff, a point is he really knows it and I actually learn few amazing things about it who sang it only seventy times (audience laugh) . (いたずらっぽく咳払い） and -- it's a fun piece , you know, you just go out there and have fun. if we don't, you'd better not going out there. (smiling) and for me the big thing about Tannhauser tragic is a great fall kind of you know he goes out there partys, you know, he's gonna go out and live and gets out there nerves and he makes a big mistake. he find his mistake when he looks into her eyes (pointing fingers to Camilla's eyes) then he says "oops". and after that the in calms. I - extreams. kind of modern piece lookin it in a way this. and the days of extreams being black and white, this is good and this is bad, -- sorry (he touched down his water bottle)- for me that the important point, the biggest contrast between really good and being really bad. and in the end he is not so bad after all. Somebody says - "oh, I guess he's not gonna go another place after all" . your turn.(to Hampe, smiling)

Hampe: I would say it's the story about fall and redemption sin and saving grace, it is said in The High Middle Ages (*), very strictly christian society, very strict more codex and I saw many of Wagner's male heroes, it's for most all about eyes of Richard Wagner. He transfered his personal feelings and problems into his stories. and Tannhauser also personanifized (personalized) great artist who goes further than other artists go. who has experiences,and accordingly recreates new things in this case new music which never has been heard and seen before. and at the same time through, going beyond every so far known limits. He's becoming the outcasts he becoming the man outlaw destroying other peoples'life. and that is his fall, that is where the saving grace is necessary and if you look through Wagners operas studying whole and for instance all the other operas always about this point and Wagner himself has had reputations of very ruthless for his art, not for his personality. For his art, he absolutley ruthless and destroying other people copes all along his biography, biographic way. So again Tannhauser was interesting for him he took the story to compose this theme , the Minnesinger, the great artists greatest europian poets starting in the middle ages like Walther von der Vogelweide he's still the basic poet of the German language and Wolfram von Eschenbach who wrote Parzival and other such great epic poems. and so he used their story to tell his own story. Accordingly he wrote his very personal music. and he also he had certain difficulty with this piece, he wrote first Dresden version later here he adapted it for Paris version chnaged it for Paris for Vienna again in Vienna he was trying to improve it and changed here and there. and in the end he said "I still owe the world Tannhäuser.(I still owe Tannhauser to the world)" (smiling).

Russell: What can I possibly say after Director said? (smiling) um- for me I am in the same sense as you are, because I have very fresh ears for this. music of Wagner, I sang Wagner before, that's for me the really the core, I hope you enjoyed music create all the tensions, the character the music is still fundation for direction and Micheal Hampe always says this during rehersal period how really Wagner stage so many movement, gestures, interaction through the music that is to me great discovery and I come from more backgrounds much much more active on stage, I have to find some sort of inner tension that Wolfram has. and he is very deep character, very generous, idealistic, character who believes in the ideal friendship with Tannhauser and the even greater ideal love to Elisabeth, and only one of which he managed to obtain - that's the friendship with Tannhauser. (like dreaming with very gentle voice)

James:

NR: Great. Thank you all. One other thing about Wagner, singing Wagner, great misteek? about Wagner what we used to call "Wagnerian singers" I preffered to say singers to sing Wagner. There are so many misconceptions about it. What is like, addressed to singers, what is it, makes good Wagner singer? What is good Wagner singer? What you need?

Petra: May I start?

Nick: Yeah.

Petra: no secret to be born to do this, I mean physically you have to right instrument inside your body. have to have right body right muscles to do this. have to be trained. You have to have training. young singers singin Wagners to sustain very long praises that the voice they re can cut the orchestra, you really have to have sung quite few years, you have to really build up to this. not about singing loudly just able to sing. but you have to have the quality of the voice, on the body just to do this.

NR: just tell me the difference from amplifium from the volium of the voice, there has to be you called 'cut' , in a better word, a kind of edge, the point, but also you have to be beautiful, wonderling belle canto technik, italien technick you want to say German, you want to sing with heavy orchestra, would you agree Miss Nylund?

Go to PART 2

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