FULL WAGNER Opera Excerpts Bologna 2023 Oksana Lyniv
Information on the Performance
- Work Title: Wagner Opera Excerpts
- Composer: Wagner Richard
- Libretto: Richard Wagner
- Venue & Opera Company: Sala Bibiena, Teatro Comunale di Bologna, Italy
- Recorded: May 14, 2023
- Type: Concert Live
- Singers: N/A
- Conductor: Oksana Lyniv
- Orchestra: Orchestra of the Teatro Comunale of Bologna
- Chorus: Chorus of the Teatro Comunale of Bologna
- Chorus Master: Gea Garatti Ansini
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: Teatro Comunale Bologna
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: nosubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
To celebrate its 260th anniversary (May 14, 1763 / 2023), the Teatro Comunale di Bologna exceptionally returns to its historic location in Piazza Verdi, currently closed for redevelopment works, to record an extraordinary closed-door concert in Sala Bibiena.
PROGRAM
from Der fliegende Holländer, WWV 63:
Overture
Symphonic summary of the main themes of the opera, the Flying Dutchman’s overture (Der Fliegende Holländer) immediately presents itself with a strong and dramatic introduction played by the brass, to evoke the main protagonist “the Dutchman”, a navigator condemned to sail until will find the way to love. The sweet themes of love will follow, played by the English horn and the oboe, to underline the character of Senta, a young man with whom the Dutchman will fall in love. The alternation of the delivery will lead again to the initial theme of the Dutchman, which will insinuate itself into the introduction of the theme of the sailors of Daland, father of Senta and also a navigator. The repetition of the theme of the girl suggests a link between the two protagonists. The symphony ends with a crescendo alternating between the theme of the Dutchman and that of love.
from Parsifal, WWV 111:
Prelude
The prelude takes us to the forest near the Grail monastery. Amfortas son of King Titurel, was wounded by the deception of Kundry, victim of the magician Kòingsor, his wound will represent the wound of humanity for all the work. The music is characterized by the presence of symbolic motifs that are repeated. The prelude begins with the theme of the Last Supper. The Grail and Faith themes come next, solemnly played by the brass. The last two themes are resumed in a crescendo. The prelude concludes with a final crescendo with the opening theme and that of the Grail.
from Parsifal, WWV 111, Act II Suite:
Karfreitag (Good Friday Spell)
The return of the “pure madman”, announced by a prophecy, restores hope to Gurnemanz, represents the key moment of this symphony. Defeated Klingsor and the forces of evil, the young Parsifal finds the land of the Grail and the old Gurnemanz, the wise knight who (first act finale) had driven him out of the monastery. He is the youth of Good Friday, the kingdom mourns the death of Titurel. Parsifal is greeted by the sumptuous theme of the brass and the prophecy played by the strings, in a crescendo that ends with the return of the Grail theme already present in the prelude. Then follows a progressive decrescendo with the three motifs of the blessing, the Grail and Faith.
from Parsifal, WWV 111, Act III Suite:
Verwandlungsmusik (Music of Transformation)
If in the opera the music of transformation is an interlude in Act I, “the transformation” in the Suite symbolizes the rebirth of nature thanks to Parsifal. After being washed and celebrated by Gurnemanz assisted by Kundry, Parsifal baptizes and purifies the sinner. Her forgiveness causes the desert to “transform” into a field of flowers. This miracle, the so-called “Good Friday spell”, is symbolized by a phrase played by the oboe and repeated by the clarinet. The theme of the Grail will still follow, taken up by the oboe and clarinet, and the theme of the “spell” which is repeated again in a crescendo, then interrupted by a theme from the Last Supper, played in E minor. The spell motif and the grail motif are played one last time.
from Parsifal, WWV 111, Act III Suite:
Ritterzug (Procession)
Bells ring out in the monastery, announcing to the knights, especially Gurnemanz and Parsifal, the funeral ceremony of King Titurel. On this occasion, Amfortas must present the Grail for the last time. After a heavy symphonic introduction, he resounds the chorus (in the opera the knights) to lament the death of the old king. The slow ridomo, the presence of bells, brass instruments and low strings underline the dramatic character of the scene. During the ceremony three themes alternate: that of the bells, that of desolation and that of the Grail. The tumult gives way to a pianissimo where the theme of desolation is repeated. The theme of prophecy will close this symphonic passage, as if to suggest a positive change.
from Parsifal, WWV 111, Act III Suite:
Schlusschor (Final Chorus)
The arrival of Parsifal, symbolized by his theme, marks the resolution of the Work. The “pure madman” holds the Holy Spear that once wounded Amfortas. Parsifal places the weapon on the king’s wound, miraculously healing it. The Leitmotiv is that of the Last Supper. The choir, enchanted by the miracle, bows down and pays homage to the savior. The final crescendo of the orchestra and the choir evoke the rising to heaven, the most transcendent moment of the work, which begins with an angelic theme, recalling to follow the themes of the prelude and that of the prophecy of the pure madman.