pappano ' s essential ring cycle
highlights include pappano' s essential ring cycle on bbc four and eugene onegin, written on skin and nabucco on radio 3 .
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it is 200 years since the birth of richard wagner and in honour of this antonio pappano, music director at the royal opera house, presents his own guide to the vast ring cycle .
celebrating the bicentenary of richard wagner’s birth, sir antonio pappano presents a 60 - minute documentary which seeks to unravel the genius of wagner’s ring cycle, one of the towering achievements of opera and a work which has challenged producers, conductors and performers alike, since its inception .
the most epic of all operas, wagner' s ring, provided a musical feast for sameer rahim .
through interviews with performers, including bass - baritone bryn terfel, soprano susan bullock and bass sir john tomlinson, and exclusive behind - the - scenes footage of royal opera house rehearsals, pappano shows us the story of wagner’s ring as told by the performers .
what’s really fascinating about the ring, though, is that the wonderful music is allied to the drama. apologies to any serious wagnerians (i know you’re out there and willing to pounce !) but this is a first - timer’s very rough approximation of what the ring is about .
( part 1) a unique distillation of wagner’s epic ring cycle, bringing the true wagner experience, including his “ideal orchestra”, original instruments, and rich story and characters to the concert hall for all audiences to experience. part one includes das rheingold and die walküre .
the valencia ring, spain - 2009 chapter eleven of david littlejohn' s
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more: urltoken brief clip taken from the bbc documentary
pappanos essential ring
( 2013) wherein it is asserted with confidence that wagner' s drama is filled to the brim with antisemitic charactertures. however, despite what is said here the case is far from proven. reproduced for educational purposes only and in the interest of educational debate and critique see: urltoken
to celebrate the bicentenary of wagner' s birth, sir antonio pappano, the charismatic music director of the royal opera house, guides us through the epic composition which changed opera and the theatre for ever - the ring of the nibelungen. pappano shares his insights into wagner' s music and the mythical world the composer created, visiting the extraordinary theatre at bayreuth which was created for its performance. he also explores the life of richard wagner the man - the political, cultural and social forces that influenced him - and shows how the composer' s personal convictions and experiences can be seen within the ring cycle. filmed in germany and it features expert comment from artists who took part in the recent production of the ring at the royal opera house directed by keith warner, including bryn terfel, sir john tomlinson, susan bullock and sarah connolly. duration: 1 hour, 30 minutes
this is a very well done introduction to the ring cycle by conductor and narrator here antonio pappano. in an hour and a half, he explains the whole story with excerpts from a production by the royal opera with bryn terfel as wotan. the singing is fine, but the production is awful! ugly costumes and bizarre sets! a better production to highlight the cycle would have been preferred. another case of eurotrash! i am still giving this disc 5 stars, although i should remove one star for the production value .
* on october 16 radio 3 will broadcast das rheingold live from the royal opera house. the rest of the cycle will follow later this week .
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r. strauss’s der rosenkavalier, theatro municipal de são paulo, 23. 06. 2018
john tomlinson as hagen in wagner' s götterdämmerung at the royal opera house, covent garden .
wagner wrote: “the course of the drama thus shows the necessity of accepting and giving way to the changeableness, the diversity, the multiplicity, the eternal newness of reality and of life. ” this is most true of the music. though it’s not that hard to recognise the themes that mark the main objects – gold, ring, spear – they undergo subtle transformation as the series progresses. at the theatre i got chatting to one experienced ring - watcher (this was his 11th !) who claimed that for him the cycle really got going in act three of siegfried – composed years after the previous act – when the musical motifs flow into one another with beguiling fluidity .
* der ring des nibelungen is at the royal opera house, london wc2 (020 7304 4000; roh. org. uk) from sept 24 to nov 2 .
three forces animate the ring. firstly there is unlimited power exemplified by the ring forged from the gold stolen by the nibelung dwarf alberich from the taunting rhinemaidens. he uses this to enslave his brother mime (one of my favourite characters, played with vituperative energy here by gerhard siegel) and the other dwarves. the second force is that of contractual obligation represented by wotan’s spear, which he made from an ancient ash tree and on which are carved legal symbols .
what follows is a list of full ring cycles in 2018. as always details may change, or we may have made an error. please check with each ...
last week i spent seven days immersed in wagner - land watching keith warner’s production at covent garden. while cooking the dinner or putting out the washing, i wasn’t able to stop wotan’s stately but sad valhalla motif or siegfried’s horn music running round my head. “rhinegold! rhinegold! ” i heard the maidens sing while walking past a canal and the valkyries hojotoho - ing on the bus. such was the music’s grip i found it hard to sleep; at one point it was sending me a bit mad .
lets hope it is a little less
one - sided
and
idiosyncratic
than the last bbc radio 3 wagner documentary. but given that we hear pappano is something of a wagner
fan
, and that he certainly has the background to have a clear understanding of wagner and his work, we have much hope .
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i wasn’t exactly in love with warner’s production. rheingold was a bit cluttered and the blocking too busy; turning alberich into a necrophilia - obsessed dr mengele also seemed pointless; and the symbols – chess board, hour - glass – were clichéd. i did, however, like the crashed plane in siegfried (wotan literally brought down to earth). the tarnhelm as a monochrome rubik cube was baffling at first but worked well as the same design for gunther’s house in götterdämmerung – that place of spooky malleability. among the singers i liked bryn terfel’s brooding wotan – a bit tony soprano – and john tomlinson as hunding / hagen, a clever bit of doubling. right at the end the conductor sir antonio pappano and the whole orchestra came on stage for the curtain call: they got the deserved standing ovation .
although richard strauss’s der rosenkavalier had already been performed in são paulo before, first by a visiting german theatre on tour in 1959 and 10 year ...
filmed in london, bayreuth, bavaria and switzerland, pappano presents a unique insight into the story of this masterpiece from the people who perform it. in particular, he shares his insights into the extraordinary theatre at bayreuth, exploring what it shows us about the theatrical world wagner wanted to create. with expert comment from artists who appeared in the recent royal opera house production of the ring, including bryn terfel, susan bullock and sir john tomlinson, the programme includes rehearsal footage from each of the four operas and performance from the 2005 - 7 production staged by keith warner .
contrary to the enthusiastic reception at the time, i left the 2017 installation at london’s victoria & albert museum titled “opera: passion, power and pol ...
the ring and the spear: two symbols, one feminine, one masculine, both crafted from nature. one is associated with the dwarf alberich and one with the god wotan. seeming opposites they are linked by the third force, one that gradually takes over the ring and the one alberich has to reject to gain the gold: love. love creates an un - coercive bond between people that goes beyond mere obligation. sieglinde from the second opera in the cycle, die walkure, for example, is stuck in a loveless marriage to hunding, which she rebels against by running off with siegmund. you can hardly blame her, especially when in this production hunding (played by a superb john tomlinson) keeps her in a jane eyre - style red room .
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love, though, is both a delirious and destabilising force. as wotan’s wife fricka (a powerful sarah connolly) points out you can’t have people just breaking their marriage vows at will. that the lovers are the bastard twins of her cheating husband doesn’t exactly endear them to her either. we’re reminded that the whole reason wotan stole the ring from alberich in das rheingold is because he needed it to pay the giants for valhalla – the gilded cage fricka wanted to prevent her husband breaking his marriage vows .
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what some people regard as the greatest opera ever written begins with a building contract gone wrong. that might seem a prosaic way of putting it but despite its grand scale wagner’s ring of the nibelung – which comprises three long operas and a shorter prelude, and which the composer gestated for 23 years before it was performed in 1876 – portrays a familiar human conflict between obligation and desire. when the god wotan tries to wriggle out of paying the giants who have built his castle valhalla, a chain of events leads to the eventual destruction of the gods. through the 15 hours of mesmerising music and argument wagner explores the obligations we have to one other, and our secret desire to throw off those obligations – even at the cost of our world collapsing .
the genius isn’t in the text, though, but in the music. take one example. the valkyrie brünnhilde is wotan’s daughter and servant. under pressure from his wife, he orders her not to help siegmund in his battle with hunding, but she disobeys him. “this love in my heart which bound me to the walsung [ ie siegmund ] made me flout your command, ” she sings alongside a ravishing motif. in punishment he ties her to a rock surrounded by protective fire. “he who fears my spear - point shall never pass through this fire, ” he sings with authoritative anger. yet under his voice the delicate magic fire music lulls his daughter to sleep – thus betraying his real sadness. he has stripped brünnhilde of her godlike status and for the rest of the cycle the attention shifts to the human world. wotan now appears only as “the wanderer”, his power muted yet far more sympathetic that the selfish god of das rheingold .
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if all this sounds like a dry legal dispute it is far from that. drawing on the tragic conflicts in greek tragedy (think aeschylus’ oresteia), wagner also has conflicted characters with irregular passions that remind you of shakespeare (especially king lear. )
take the sinister theme associated with the tarnhelm – the magic helmet that allows its wearer to transform into anything. in rheingold, rather comically, the dwarf alberich uses it to transform into a dragon and a toad. by götterdämmerung, though, the same theme is heard when siegfried enters the house of gunter and becomes a stranger to himself. the theme itself has been transformed to mark an emotional metamarphosis. dozens of other example have been explored by musicologists such as deryck cooke, whose lecture on the rings motifs is well worth downloading .
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wagner was born in the same year as giuseppe verdi, and these titans of music were both writing opera but in different countries and in very different ways. this may, bbc four celebrates their contribution to opera with these two documentaries and additional programming on bbc radio 3 as part of verdi 200 and wagner 200 on the bbc .
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pappano 's essential ring cycle is a british television documentary first aired on bbc four in 2013 presented by the italian conductor antonio pappano about the german composer richard wagner and his tetralogical opera the ring cycle , also called by the formal title of ring of the niebelung . in 90 minutes he covers all 4 operas consisting of wagner 's ring cycle with scenes taken from his productions of the operas . included in the programme are interviews with opera singers , notably john tomlinson who has sung the principal character wotan numerous times . under pappano he has sung the götterdämmerung antagonist , hagen . pappano visits bayreuth and the palace of wagner 's patron ludwig ii of bavaria during the documentary . pappano explains how wagner did not approve of the word opera to describe his compositions . instead he favoured the term musical drama , which he considered to be an all inclusive term for his role of controlling every aspect of the production . pappano relates how wagner would stand on the stage , directing the singers , including singing all the roles , male and female to them ; as means to direct them in interpreting roles . wagner would also show stage choreography to the cast by performing stage fighting and demonstrating how to climb mountains . when scenes required some skill in mountaineering to scale scenography of a mountain . also noteworthy within the programme is pappano filming the interior of ludwig ii 's palace revealing the neo-gothic and richly coloured interior design alongside panoramic paintings of scenes from wagner 's ring cycle . the palace of richard wagner 's patron is usually ignored in documentaries in favour if focusing exclusively on the bayreuth opera house . pappano returned to conducting the ring for the royal opera house , london in october 2012 . 
pappano's essential ring cycle is a british television documentary first aired on bbc four in 2013 presented by the italian conductor antonio pappano about the german composer richard wagner and his tetralogical opera the ring cycle, also called by the formal title of ring of the niebelung. in 90 minutes he covers all 4 operas consisting of wagner's ring cycle with scenes taken from his productions of the operas. included in the programme are interviews with opera singers, notably john tomlinson who has sung the principal character wotan numerous times. under pappano he has sung the götterdämmerung antagonist, hagen. pappano visits bayreuth and the palace of wagner's patron ludwig ii of bavaria during the documentary. pappano explains how wagner did not approve of the word opera to describe his compositions. instead he favoured the term musical drama, which he considered to be an all inclusive term for his role of controlling every aspect of the production. pappano relates how wagner would stand on the stage, directing the singers, including singing all the roles, male and female to them; as means to direct them in interpreting roles. wagner would also show stage choreography to the cast by performing stage fighting and demonstrating how to climb mountains. when scenes required some skill in mountaineering to scale scenography of a mountain. also noteworthy within the programme is pappano filming the interior of ludwig ii's palace revealing the neo-gothic and richly coloured interior design alongside panoramic paintings of scenes from wagner's ring cycle. the palace of richard wagner's patron is usually ignored in documentaries in favour if focusing exclusively on the bayreuth opera house. pappano returned to conducting the ring for the royal opera house, london in october 2012.
pappano's essential ring cycle is a british television documentary first aired on bbc four in 2013 presented by the italian conductor antonio pappano about the german composer richard wagner and his tetralogical opera the ring cycle, also called by the formal title of ring of the niebelung. in 90 minutes he covers all 4 operas consisting of wagner's ring cycle with scenes taken from his productions of the operas. included in the programme are interviews with opera singers, notably john tomlinson who has sung the principal character wotan numerous times. under pappano he has sung the götterdämmerung antagonist, hagen. pappano visits bayreuth and the palace of wagner's patron ludwig ii of bavaria during the documentary. pappano explains how wagner did not approve of the word opera to describe his compositions. instead he favoured the term musical drama, which he considered to be an all inclusive term for his role of controlling every aspect of the production. pappano relates how wagner would stand on the stage, directing the singers, including singing all the roles, male and female to them; as means to direct them in interpreting roles. wagner would also show stage choreography to the cast by performing stage fighting and demonstrating how to climb mountains. when scenes required some skill in mountaineering to scale scenography of a mountain. also noteworthy within the programme is pappano filming the interior of ludwig ii's palace revealing the neo-gothic and richly coloured interior design alongside panoramic paintings of scenes from wagner's ring cycle. the palace of richard wagner's patron is usually ignored in documentaries in favour if focusing exclusively on the bayreuth opera house. pappano returned to conducting the ring for the royal opera house, london in october 2012.