Bayreuth canon

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Richard Wagner and his second wife Cosima, who established the Bayreuth canon Richard and Cosima Wagner.jpg
Richard Wagner and his second wife Cosima, who established the Bayreuth canon

The Bayreuth canon consists of those operas by the German composer Richard Wagner (1813–1883) that have been performed at the Bayreuth Festival. [1] The festival, which is dedicated to the staging of these works, was founded by Wagner in 1876 in the Bavarian town of Bayreuth, and has continued under the directorship of his family since his death. Although it was not originally held annually, it has taken place in July and August every year since the 75th anniversary season in 1951. Its venue is the Bayreuth Festspielhaus, which was built for the first festival. [2] Attendance at the festival is often thought of as a pilgrimage made by Wagner aficionados. [3]

Opera Artform combining sung text and musical score in a theatrical setting

Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor.

Composer person who creates music, either by musical notation or oral tradition

A composer is a musician who is an author of music in any form, including vocal music, instrumental music, electronic music, and music which combines multiple forms. A composer may create music in any music genre, including, for example, classical music, musical theatre, blues, folk music, jazz, and popular music. Composers often express their works in a written musical score using musical notation.

Richard Wagner German composer

Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk, by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen.

Contents

The operas in the Bayreuth canon are the last ten of the thirteen that Wagner completed. He rejected the first three – Die Feen , Das Liebesverbot and Rienzi – as apprentice works. [4] [5] Although these have been staged elsewhere and Rienzi was very popular into the early 20th century, [6] the works in the canon exceed them, both in the number of performances given [7] and in the number of available recordings. [8] The term Bayreuth canon is therefore sometimes taken to mean the composer's mature operas. [9] Georg Solti was the first conductor to complete studio recordings of all the works in the canon, starting in 1958 with Das Rheingold and finishing in 1986 with Lohengrin . [9]

<i>Die Feen</i> opera by Richard Wagner

Die Feen is an opera in three acts by Richard Wagner. The German libretto was written by the composer after Carlo Gozzi's La donna serpente. Die Feen was Wagner's first completed opera, but remained unperformed in his lifetime. It has never established itself firmly in the operatic repertory although it receives occasional performances, on stage or in concert, most often in Germany. The opera is available on CD and in a heavily cut, adapted-for-children version, DVD.

<i>Das Liebesverbot</i> opera by Richard Wagner

Das Liebesverbot, is an early comic opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeare's Measure for Measure. Described as a Große komische Oper, it was composed in early 1836.

<i>Rienzi</i> opera by Richard Wagner

Rienzi, der letzte der Tribunen is an early opera by Richard Wagner in five acts, with the libretto written by the composer after Edward Bulwer-Lytton's novel of the same name (1835). The title is commonly shortened to Rienzi. Written between July 1838 and November 1840, it was first performed at the Königliches Hoftheater, Dresden, on 20 October 1842, and was the composer's first success.

Components

The components of the canon are as follows: [10]

Das Rheingold , Die Walküre , Siegfried and Götterdämmerung
These are the four parts of Der Ring des Nibelungen . The Bayreuth Festival was created for the first complete staging of the Ring in 1876. [2] The Ring was next staged in Bayreuth in 1896, the only other season when the cycle has been performed there unaccompanied by other operas. Since then, it has appeared during most seasons. [11]
Paul von Joukowsky's design for the Grail scene for the original 1882 production of Parsifal Paul von Joukowsky - Buhnenbild Parsifal - Gralstempel.jpg
Paul von Joukowsky's design for the Grail scene for the original 1882 production of Parsifal
Parsifal
This work was first performed at the second Bayreuth Festival in 1882. [10] The degree to which Parsifal is associated with one venue, the Festspielhaus, makes it unique among major theatrical works. [12] Wagner dubbed the opera a Bühnenweihfestspiel, which opera director Mike Ashman translates as a "festival work to consecrate a stage". Ashman explains this as meaning that it was intended to secure the financial future of the Bayreuth Festspielhaus and allow the composer's heirs to continue running the festival profitably. [13] Parsifal was staged nowhere else until 1903 when the Metropolitan Opera in New York broke the embargo placed on theatrical performances outside Bayreuth by Wagner and his widow Cosima. [14]
Parsifal far exceeds the other members of the canon in the number of performances it has received at Bayreuth. It is the only work to have had three festival seasons (1882, 1883 and 1884) dedicated solely to its staging, [11] and was performed every season from 1882 until the start of World War II, with the exception of 1896 when Cosima first revived the Ring. [15] Most of these performances were of the original production, which received 205 performances before a new staging was introduced in 1934. [16] [17] Another production – the influential one by the composer's grandson Wieland – was staged every year from 1951, when Bayreuth reopened after the war, until 1973, accumulating 101 performances. [18] [19] [20]
Der fliegende Holländer , Tannhäuser , Lohengrin , Tristan und Isolde and Die Meistersinger von Nürnberg
Cosima introduced these five works from 1886 onwards, after she started running the festival on a continuing basis. [21] [22] In introducing these, she fulfilled her dead husband's wishes [23] but over an extended timescale. [24] Meistersinger is the only work in the canon, apart from Parsifal and the Ring cycle, to have had whole festival seasons, those of 1943 and 1944, devoted solely to it. [11]

Performances at Bayreuth

As of the completion of the 2018 festival, 2725 [25] performances have been given at the Bayreuth Festival of the operas in the canon, distributed as in the following table.

Key
symbol and colourmeaning
Ring opera
Introduced by Richard Wagner
*Introduced by Cosima Wagner
OperaCompletedPremièreBayreuth premièreMost recent Bayreuth season
(to 2018) [26]
Total Bayreuth performances
(to 2018) [26]
Das Rheingold
(The Rhinegold)
1854 [27]
22 September 1869 [28]
13 August 1876 [29]
2017
229
Die Walküre
(The Valkyrie)
1856 [27]
26 June 1870 [30]
14 August 1876 [11] [29]
2018
229
Siegfried
1869 [27]
16 August 1876 [31] 16 August 1876 [31]
2017
228
Götterdämmerung
(The Twilight of the Gods)
1874 [27]
17 August 1876 [32] 17 August 1876 [32]
2017
232
Parsifal
1882 [33]
26 July 1882 [34] 26 July 1882 [34]
2018
536
Tristan und Isolde
(Tristan and Isolde)
1859 [35]
10 June 1865 [36]
25 July 1886* [11] [37]
2018
244
Die Meistersinger von Nürnberg
(The Mastersingers of Nuremberg)
1867 [38]
21 June 1868 [39]
23 July 1888* [11] [40]
2018
319
Tannhäuser
1845 [41] [42]
19 October 1845 [43]
22 August 1891* [11] [44]
2014
220
Lohengrin
1848 [45]
28 August 1850 [46]
20 July 1894* [11] [47]
2018
237
Der fliegende Holländer
(The Flying Dutchman)
1841 [48] [49]
2 January 1843 [50]
22 July 1901* [11] [51]
2018
238

See also

Notes and references

  1. For examples of its usage, see Carnegy (2006) p. 143 or Best (2005) p. 102.
  2. 1 2 Sabor (1997) p. 166.
  3. see Twain (1891) and Laurson (2008) for examples of this comparison.
  4. Loomis (2008).
  5. Laurson (2008).
  6. Palmer (2005).
  7. Morgan (2005).
  8. As of 27 December 2009 The Operaclass website lists recordings numbered in single figures for each of the three early operas and in the thirties or higher for each of the later ones.
  9. 1 2 Greenfield (1987).
  10. 1 2 Gurewitsch (1999).
  11. 1 2 3 4 5 6 7 8 9 Bayreuther Festspiele (2012).
  12. Beckett (1981) p. 87.
  13. Ashman (1986) p. 7.
  14. Beckett (1981) pp. 92–94.
  15. Beckett (1981) p. 93.
  16. Syer (2005) p. 283.
  17. Beckett (1981) p. 97.
  18. Beckett (1981) pp. 87, 99.
  19. Syer (2005) p. 305.
  20. Number calculated from Bayreuther Festspiele (2012).
  21. Carnegy (2006) pp. 139, 143.
  22. Griffiths (2004).
  23. Skelton (2002).
  24. See The New York Times (1879) where plans are announced to stage all these operas in Bayreuth by 1887.
  25. Bayreuther Festspiele (2012). The total of 2725 tabulated in the source includes 8 concerts and 6 performances of Beethoven's Ninth Symphony
  26. 1 2 All details in these columns are sourced from Bayreuther Festspiele (2018).
  27. 1 2 3 4 Cooke (1979) p. 132.
  28. John (1985) p. 43.
  29. 1 2 Wagner 1978 p. 918.
  30. John (1983b) p. 53.
  31. 1 2 John (1984) p. 63.
  32. 1 2 John (1983c) p. 63.
  33. Headington et al. p. 188.
  34. 1 2 John (1986) p. 83.
  35. Newman (1949, 1991) p. 205.
  36. John (1981) p. 45.
  37. Flyer for 1886 Bayreuth Festival, reproduced in Mack (1976) Plate 80.
  38. Headington et al. (1991) p. 184.
  39. John (1983) p. 41.
  40. Flyer for 1888 Bayreuth Festival, reproduced in Mack (1976) Plate 88.
  41. Newman (1949, 1991) p. 66.
  42. Wagner repeatedly revised Tannhäuser during the time between its first performance in Dresden in 1845 and its staging in Vienna in 1875 (Ashman, 1988 pp. 7–8), but remained dissatisfied with its state even then, telling his wife "I still owe the world Tannhäuser" shortly before his death (Sutcliffe, 1992).
  43. John (1988) p. 57.
  44. Flyer for 1891 Bayreuth Festival, reproduced in Mack (1976) Plate 94.
  45. Newman (1949, 1991) p. 155.
  46. John (1993d) unnumbered title page.
  47. Flyer for 1894 Bayreuth Festival, reproduced in Mack (1976) Plate 109.
  48. Watson (1981) p. 69.
  49. Wagner revised Der fliegende Holländer on several occasions, moving the setting from Scotland to Denmark before the opera was even staged and creating both three-act and one-act versions. He talked about making further changes as late as 1880 (Deathridge, 1982, pp. 13, 25).
  50. John (1988) p. 49.
  51. Flyer for 1901 Bayreuth Festival, reproduced in Mack (1976) Plate 164.

Sources

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