Views & Reviews

Review: Triumphant reprise of the Stemme/Skelton 'Tristan und Isolde' in Hobart, Tasmania, 2016

Tristan und Isolde, Hobart 2016

By Colleen Chesterman
On the night of 19 November 2016, a packed audience in the Federation Concert Hall in Hobart heard Swedish soprano Nina Stemme and Australian tenor Stuart Skelton perform an abridged concert version of Wagner’s magnificent Tristan und Isolde under the baton of Marko Letonja, conducting the Tasmanian Symphony Orchestra.

Review: The Longborough Ring, 2013

The Longborough Ring 2013

By Terry & Julie Clarke
I have written before about performances of Wagner’s works in small private opera houses in the English countryside. For the past ten years Lizzie and Martin Graham have pursued the almost impossible dream of mounting a full Ring Cycle at their home in Longborough in the beautiful Cotswolds Hills west of Oxford.

Review: 'Tannhäuser' Und Der Sängerkrieg Auf Wartburg, 2010

By Richard Mason
Vienna Staatsoper – 16th June 2010 [opening night of a new production]
Johan Botha [Tannhäuser], Anja Kampe [Elisabeth], Michaela Schuster [Venus], Christian Gerhaher [Wolfram], Ain Anger [Landgraf], Gergely Németi [Walther], Alexandru Moisiuc [Biterolf], Marcus Pelz [Reinmar], Alois Mühlbacher [Shepherd]; Production: Claus Guth, Christian Schmidt; Lighting: Olaf Freese; Movement: Konrad Kuhn; Conducted by Franz Welser-Möst

Review: A Polished Vienna Ring, 2009

By Jan Bowen
Given the current global financial crisis, Wotan’s difficulties in coming up with the ready to pay for Valhalla almost certainly struck a chord with many modern day cash- strapped members of the audience. The enduring relevance of Wagner’s magnum opus was strikingly evident in the Vienna Staatsoper’s recent Ring Cycle if for no other reason than its timing.

'Parsifal' - A personal view, 1984

By Trevor O'Brien
[Trevor O’Brien’s meditation on the music-drama is a sensitive introduction to ways of responding to this somewhat enigmatic work - Editor]

Is it that Wagner is hard to comprehend, or is it that only at times when one can relate personally to the emotions and experiences of which Wagner wrote that a clear understanding of his work evolves? Personal interaction with Wagner’s operas at various moments in our own development seem to expand the understanding and give a clear insight into our own lives.