I am a great lover of Wagner's works who would not even consider going anywhere near Bayreuth. The productions are unwatchable, and not worth the cost of going there.
I find that you are unduly harsh and one-sided about the productions at Bayreuth and Regietheater in general. No composer or librettist is more open to interpretation and re-interpretation than Wagner. He did not write hermetically sealed scores and librettos. He wrote about the great emotions and conflicts of life and society, placing them at first in a mythical milieu, but allowing their truths to be released to a broader spectrum of interpretation that would resonate with future generations. You fail to mention that directors you now laud, such as Patrice Chereau, were vilified for their Wagner productions, physically attacked on the street. Now, of course, you admire those pioneers.
As far as Regietheater goes, Barrie Kosky's recent production of Der Meistersinger in Bayreuth is the most brilliant version of that work I have ever seen. Stefan Herheim's production of Parsifal was also brilliant and different. Yuval Sharon's production of Lohengrin rejuvenated that work. Bayreuth may be taking chances, but being on the cutting edge can create great things. Wagner's work is too vibrant and relevant to be treated as a museum piece.
A warning from Bayreuth for the entire opera world
Thank you for pointing out what many of us have felt for decades.
I am a great lover of Wagner's works who would not even consider going anywhere near Bayreuth. The productions are unwatchable, and not worth the cost of going there.
Thank you so much for posting.
Wieland is very much missed!!!
I find that you are unduly harsh and one-sided about the productions at Bayreuth and Regietheater in general. No composer or librettist is more open to interpretation and re-interpretation than Wagner. He did not write hermetically sealed scores and librettos. He wrote about the great emotions and conflicts of life and society, placing them at first in a mythical milieu, but allowing their truths to be released to a broader spectrum of interpretation that would resonate with future generations. You fail to mention that directors you now laud, such as Patrice Chereau, were vilified for their Wagner productions, physically attacked on the street. Now, of course, you admire those pioneers.
As far as Regietheater goes, Barrie Kosky's recent production of Der Meistersinger in Bayreuth is the most brilliant version of that work I have ever seen. Stefan Herheim's production of Parsifal was also brilliant and different. Yuval Sharon's production of Lohengrin rejuvenated that work. Bayreuth may be taking chances, but being on the cutting edge can create great things. Wagner's work is too vibrant and relevant to be treated as a museum piece.