Tannhauser artists roundtable at California Part3

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2008年01月29日

カテゴリ： OPERA

Tannhauser artists roundtable at California Part3

RB: 3437 Sorry, I'm doing it again. For me the important thing about Wagnerian music is great contrast. You experience in Wagner from the large synphonic to the smallest delicate chamber music, and these contrast that make it so grand and it's far as I concerned every one says all Wagners has to be so "Mmmmm---" (streching his arms up) like this. I 'm not of this opinion. I'm of the opinon people think "We have to do this!" and that's why people think, "Oh it can't be performed." But if you get the idea of thousands of different colours involved in this music, as again, I'm talking basically about myself as the tenor, it's immense the colours from the loudest to the softest to the more, most regart, and it's the beginning were really difficult. It really is. But it's the harve? , I don't have to screech(*) my way through this? I can just sing it. That's the idea. it's the harve?. it's not gonna be too loud. I don't have to go there and prove everybody I have to sing loud, I have to sing beautifully, understandinglly, and try to convince young lady to let me go and made mistakes, sometimes obviously, the idea is it has to be beautifully sung as well , not just screaming --. ok? I meant making mistakes not myself but the way he load it. (smiling)

Hampe: May I just add one thing as commentary? Wagner was the great admirer of Bellini, most melodic old italian composer and consently you hear and feel in his music, which is line, line, line. That's also the elements of Wagner.

Nick :---- (asks to Russell about his father,Victor Braun.) Did you ever see him perform Wolfram or did you learn anything from those memories of your father's performance of the work?

Russell:Sadly I never saw him perform Wolfram. in fact He didn't perform it very often. I think he performed it when his career was starting at Frunkfurt, further than I think Munich, well I'm not actually know I'm sure where and when. it's course Micheal Hampe goes way back thw colon? times as the teenager, --- but my memory my father singing Wagner most in Tristan and he sang Kurvenal and Meister singer von Nurnberg I think for him, maybe zero identified with the most and anyway it's personal thing the recording was some legendary it is .

Nick :Let's talk about the production itself, it has very interesting history,(asks about Production.) and I start actually with James, Was it originally designed by Gunter Schneider ??version?

James Mulder (Designer): 3843 Vienna state opera and Metropolitan Opera produced by Otto Schenk together, the conception -very shape in sort of style, slightly because -- -San Diego Opera had approached Gunter Schneider to see how we could concept putting into this theatre, and as Gunter is now 82 years old, he's little bit firm? and not quite able to travel, actually walk really, so he came ask me, I've been his friend, to more than twenty years maybe, student he mentor I very very proud to accept the challenge to product this theatre.

Nick: Micheal, did you ever know the production before?

Hampe:I haven't seen it before, but --know Gunter Schneider see him very well,

Mulder: -- these days we can't.

Nick: (to Petra) What is the most challenging things to sing Wagners opera? What is the most challenging part of singing Venus?

Petra Lang (Venus) : about Venus 2 different version , Dresden and Paris, Gavor Otvesch mentioned before, and Dresden version for me is just fun. she curses him go and done, it's not real way- very short - sing it through after 15 minutes I've done. (laughing)

Nick : Yeah, you're done(laughing) you sure you recording the Paris version, you what does go on? in Dresden version?

Petra: after half an hour, it's done. I think Paris version makes Venus very weak. she said him to stay stay stay--and cry and do everything him to stay. In my opinion, men want to go, let him go! (laughing) Maybe there's a reason other is waiting and no need to yell.

Nick : In the Paris version, she seems she goes up and she goes down. so not much about Dresden?

Petra: No. you want to go? I tried but you want to go, I curse you go.(laughing)

Nick: and Elisabeth, what is the most challenging role with you?

Camilla: Of course the music is fantastic, Challenge? of course um--- in second act she is very happy because she knows Tannhauser has come back and this big change, where everything was destroyed her whole life was destroyed but she still gets the strength to- um, then at the end of the second act she along with whole men's choir and protagonist?　-how to say- of the male singers, She's trying to, yeah, to tell them "No", He's not lost yet, we have to save him. and then third act she wait for a long time to come back of him but he's not coming and she knows she lost this fight and she, yeah, wants to die. You never know if she dying or, I did another production where she is commiting suicide on the stage, but is also very emotional. She dies like in Wolfram's arms. But usually she just disappears and she becomes, I don' know, Saint, or she goes to another world.

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