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Richard Wagner, Das Liebesverbot Christopher Maltman, bar, Peter Lodahl, ten, Ilker Arcayürek, ten, David Alegret, ten, David Jerusalem, bass, Manuela Uhl, sop, María Miró, sop, Ante Jerkunica, bass, Isaac Galán, bar, María Hinojosa, sop, Francisco Vas, ten Chorus and Orchestra of the Teatro Real, Madrid, Ivor Bolton, cond. Kasper Holten, stage director Opus Arte 1191, 2017 (1 DVD: 160 minutes), $32.50

Published online by Cambridge University Press:  25 October 2021

Gundula Kreuzer
Gundula Kreuzer*
Affiliation:
Yale University gundula.kreuzer@yale.edu
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Type
DVD Review
Information
Nineteenth-Century Music Review , Volume 19 , Special Issue 1: Music, Medical Science and the Body/Retrospect Opera: Reviving Britain's Nineteenth-Century Operatic Past , April 2022 , pp. 191 - 195
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Copyright © The Author(s), 2021. Published by Cambridge University Press

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References

1 The projection is of a version of Cäsar Willich's 1862 portrait, available at https://commons.wikimedia.org/wiki/File:Richard_Wagner_by_Caesar_Willich_ca_1862.jpg (accessed 4 June 2021). On the portrait's genesis, see Erben, Dietrich, ‘Richard Wagner im Porträt’, in Wagner Handbuch, ed. Lütteken, Laurenz (Kassel: Bärenreiter, 2012): 71–2Google Scholar.

2 The quotation stems from the dedicatory quatrain with which Wagner inscribed the autograph score when donating it to King Ludwig II on Christmas 1866; see Wagner, Richard, Sämtliche Werke 2/1: Das Liebesverbot oder: Die Novize von Palermo. Große komische Oper in zwei Akten, WWV 38. Ouverture und Erster Akt, ed. Döge, Klaus and Voss, Egon (Mainz: Schott, 2015), viiGoogle Scholar.

3 On these influences, see Voss, Egon, ‘Wagners Jugendsünde? Zur großen komischen Oper Das Liebesverbot oder Die Novize von Palermo’, in his ‘Wagner und kein Ende’: Betrachtungen und Studien (Zurich: Atlantis, 1996): 44–58Google Scholar; and – with further references – Inga Mai Groote, ‘“Weder italienisch, französisch – noch aber auch deutsch”: “Das Liebesverbot” zwischen den Gattungstraditionen’ and Schubert, Giselher, ‘Orchestertechnik und musikalische Dramaturgie: Zu den französischen und italienischen Einflüssen in Wagners “großer komischer Oper Das Liebesverbot”’, in Das ungeliebte Frühwerk: Richard Wagners Oper ‘Das Liebesverbot’, ed. Lütteken, Laurenz (Würzburg: Königshausen & Neumann, 2014): 97–114Google Scholar and 115–36.

4 On this tradition, see Egon Voss, ‘Nachwort’, in his libretto edition of Wagner, Richard, Rienzi, der Letzte der Tribunen. Große Tragische Oper in fünf Akten (Stuttgart: Reclam, 2010), 77–8Google Scholar. On Holten's approach to ‘slimming down the score’, see his interview with Katherine Cooper, ‘Kasper Holten on Das Liebesverbot’, prestomusic, 11 March 2017, www.prestomusic.com/classical/articles/1682--interview-kasper-holten-on-das-liebesverbot (accessed 4 June 2021).

5 Chris Walton emphasizes the ‘glitches’ in Wagner's plot in his essay ‘No Sex Please, We're German’ in the DVD booklet, pp. 4–5.

6 According to fashion critic Stephan Rabimov, the colour-conscious Merkel indeed reserves pink and orange jackets ‘for her more “private citizen” events to express optimism, joie de vivre, and open-mindedness’; see ‘How Chancellor Angela Merkel Changed Fashion Politics’, Forbes, 11 November 2017, www.forbes.com/sites/stephanrabimov/2020/11/17/how-chancellor-angela-merkel-changed-fashion-politics/?sh=2ac97a1745d7 (accessed 4 June 2021).