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Número 276 - Zaragoza - Diciembre 2023|
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FORO
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| BAYREUTH 2006 |
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Hola a tod@s, Sé que no es muy wagneriano pero las vacaciones me han impedido seguir las transmisiones desde Bayreuth. Suerte que ?siempre nos quedará el emule?. He podido acercarme a la civilización a actualizar un poco mis asuntos cibernéticos y he comprobado que el foro ha estado muy animado. Bien, ya tengo lectura para la vuelta. Para compensar, os pongo un articulillo del NY Times de un tal Anthony Tommasini enviado a Bayreuth para escribir una especie de diario. Éste corresponde al cuarto día. Más que nada trata de curiosidades y ?cosas prácticas?. Los que ya habéis estado ya nos contaréis si es cierto o no. Por ejemplo, en la crónica del primer día, nos asegura que en Bayreuth no tose nadie. Qué gente más sana la wagneriana y qué malvados los de las discográficas. Es curioso el final (humor de periodista u ocurrió de veras?). Merlín What to Wear? Bayreuth, Germany - So with three "Ring" operas down and one to go, there is time to address a burning question at the Bayreuth Festival. If one manages to get a coveted ticket to this most exclusive of festivals, what does one wear? The formal dress code that was observed for decades has been loosening considerably of late, which is probably inevitable. Still, a clear majority of people continue to arrive in formal wear. And the men mostly favor black tuxedos, not the optional summer white jackets. You still see some very old Bavarian characters in very conservative dress. One married couple the other day had matching canes and matching gold necklaces with Order of the Knights of the Cross medallions, or some such thing. It is certainly striking that so many wealthy people come to the Festspielhaus all dressed up on a humid July day to sit through a Wagner opera in penitential silence in those armless, hardwood seats with scant legroom. And remember, there is no air-conditioning in the house, for fear that the whir of motors would affect the glorious acoustics. Fair enough, but what about the faintly audible whooshing that comes from people fanning themselves during the performance as a result? Enterprising younger couples dress fancily while taking liberties in deference to the weather. At "Die Walküre" on Thursday, a steamy hot day here, there was a beautiful young couple, Bayreuth fashion pace-setters, she in a simple short aqua dress, he in an open-collared silk white shirt and white pants. One older gentleman wore kilts! Now that was clever. But believe it or not, you can show up in chinos and a T-shirt, and the cheerful, mostly young ushers will still show you right in. If you see someone with a slightly rumpled sport coat slung over his button-down-collar dress shirt, carrying a notepad and looking distracted, he is definitely one of the many out-of-own critics. If he seems to be wearing the same pink dress shirt he had on the other night, that critic is me. Modes of dress may be shifting at Bayreuth, but some customs will never change. As always, the approaching end of each 60-minute intermission is signaled by an octet of brass players from the orchestra, who appear on the balcony of the King Ludwig annex and play a fanfare or leitmotiv from the coming act: the Valhalla theme, "Alberich’s Curse," Siegfried’s horn call -- there is no shortage of options from the "Ring." The chosen excerpt is played once at 15 minutes before the start of the new act, twice at 10 minutes and three times at 5. Everything is superpunctual at Bayreuth. Critics must pick up tickets 60 minutes before a performance. The audience is usually seated and ready several minutes before the house lights dim, though I overheard an Englishman and a German behind me last night complaining that in recent years Bayreuth audiences have been taking too long to settle down. They disagreed over whether Italians or Americans were the culprits. But that’s hardly the worst of it. On Thursday night something I thought could never happen at the Festspielhaus happened. In the last moments of "Die Walküre," Act II, just as Wotan was about to kill the brutish and avenging husband Hunding, uttering "Geh hin, Knecht!" ("Be off, slave!"), a cellphone rang. The Wotan, Falk Struckmann, seemed momentarily rattled. Cellphones at Bayreuth! I wanted to shout out to Wotan, "Forget Hunding, fling your spear at the owner of that cellphone. "Geh, Geh!" PD.: Si queréis el resto de entradas (creo que hoy son 6 días más un par de artículos) están en el la página del NY Times o si no os los enviaré por email (son unas 10 páginas). |
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Lo del móvil no es difícil de creer. Hace unos 10 años, también sonó un móvil durante el preludio de Parsifal, en Bayreuth. Dirigía Sinopoli. Y cuando se hubo apagado el sonido del móvil, volvió a empezar el preludio. La gente cree que el público de Bayreuth es especial. Pero no lo es. Puede haber gente especial entre el público, pero también los hay muy patanes. Un saludo. |
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Muy divertido el artículo del NY,Merlín. Te agradecería que me enviaras, los restantes a mi correo:sieglinde73@hotmail.com. Saludos. |