Dear Sir/Madam, dear friends of Richard Wagner,

I would like to present to you today a project of outstanding and worldwide importance. It concerns the Wagner Hall and the German Theatre in Riga in beautiful Latvia, which is now once again an independent state, but belonged to the Russian Tsarist Empire during Richard Wagner’s lifetime.

Richard Wagner stayed in Riga with his first wife Minna for two years and filled the position Music Director at the theatre. For a while they were safe here from his Prussian creditors.

But Riga’s theatre was also the opera house in which Wagner started his musical experiences and began to experiment with a partially covered orchestra pit, which he only could bring to perfection in the Bayreuth Festspielhaus much later. It still plays the most important “musical role” there today.

In Riga, however, Wagner’s major expansions and developments in relation to grand opera also began to emerge, especially the text and score for his Grand Opéra “Rienzi”, took their beginnings in this place and the first two acts of “Rienzi” were created in Riga.

While fleeing from his creditors from Riga across the Baltic Sea to England and on to Paris, the “Flying Dutchman” was created in his mind’s eye, showing unmistakable traits of his own identity and his experiences of the dramatic flight from Riga.

Thus Riga is one of the most formative places of his work alongside Dresden, Venice and Bayreuth.

Let yourself be inspired by the special project of the reconstruction and renovation of the German Theatre with the “Wagner Hall”, which is part of an extensive building complex that needs to be renovated.

Above all, the aim was to prevent a shopping centre to replace the theatre, this was already under discussion, despite the building’s special historical background. Behind this major global project is none other than former Latvian Prime Minister Maris Gailis, Chairman of the Riga Richard Wagner Society. A large number of comrades-in-arms such as the current president of Latvia, Egils Levits, the Wagner great-granddaughter Eva Wagner-Pasquier, the German-Baltic and the German- Baltic exchange member of parliament Elisabeth Motschmann with the project manager Dr. Konrad Winckler and Mechthild Foet are represented as well as the Richard Wagner Associations and some sponsors who are involved in the reconstruction and renovation of the building complex.

The project was presented to the European Parliament in Brussels and met with great participation and lively interest.

The laying of the foundation stone will take place at the beginning of 2021 and the completion should be in 2024, if all plans can be kept. We want to be present on both occasions and ask our associations to participate.

The total volume of the renovation is 35 million euros. The amounts received by us (we have been asked to do this as a neutral institution) will be transferred in full to the company in Riga and our only task as a neutral association is to receive and forward the funds. We are following the conditions of the EU for subsidies, which may not be paid directly to the projects, but via neutral cultural institutions in Europe such as RWVI. I cordially invite you, your members and friends to participate financially with all your possibilities in this unique project.

We are convinced that the building complex, (5000 square meters of space), after its redevelopment through its conception as an international music center with its own concert hall and diverse training facilities for classical music and musicology under one roof, is ideally suited to revive a great European and worldwide cultural impulse, connected with the name Richard Wagner, especially in Eastern Europe. Here the famous sentence of Richard Wagner once again shows itself to be particularly stringent:

“Kinder, schafft Neues!”

Of course, the complete programme for the renovation of the entire complex is already available and we are pleased to present it to you on our website in English and German.

In cordial solidarity
Yours,

Rainer Fineske
Präsident RWV International

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Richard’s Dream

An international cultural centre is to be established in the former German Theatre in the Latvian capital Riga.

It is hard to believe that music history was once written behind the dreary façade with its crumbling brickwork and weathered window frames. After all, a memorial plaque announces that a certain Rihards Vāgners was active in the house as a conductor and composer between 1837 and 1839, and that in addition 1842 Ferenzs Lists, 1844 Klāra Vīka-Šumane and Antons Rubinsteins, and in 1847 Hector Berliozs were guests in the building. The former German Theatre in the Latvian capital Riga is now called the “Wagner Hall” and preserves the memory of the fact that Richard Wagner spent two decisive years of his early artistic life at this site. The Latvian spelling of the names of Wagner, Franz Liszt, Klara Wieck-Schumann, Anton Rubinstein and Héctor Berlioz has been distorted to such an extent that it is still possible to recognise the luminaries of early Romanticism who performed in the house.

Wagner conducted the concerts in Riga, devoted himself intensively to his first truly great opera (“Rienzi, the Last of the Tribunes”) and made discoveries in the German Theatre which will be of decisive importance for his still embryonic project of a musical theatre encompassing all the arts. He was fascinated by the parquet floor rising like an amphitheatre and the darkened auditorium, from which the audience’s gaze is inevitably focused on the illuminated stage. He was also fascinated by the pragmatic solution, born of pure space constraints, to make the orchestra partially disappear under the stage.

Such experiences were decisive in the planning of Wagner’s own festival theatre in Bayreuth, where he had the audience rows rise in a similar way to Riga and even had the orchestra pit completely covered. The German Theater, designed as a kind of palace, was built by the German-Baltic Baron Otto Hermann von Vietinghoff as a private investor according to the plans of the German architect Christoph Haberland. Of course, there is almost nothing left of the original furnishings.

After the Riga Opera House was opened in 1863, the German Theatre lost its importance. During the Soviet era new fixtures were added, as the “Wagner Hall” the house housed various cultural institutions, and it also served as a library, dance hall and music club in the newly independent Latvia. The complex was closed a decade and a half ago, because the walls showed new cracks and other serious damage. Various initiatives to renovate the building and give it a new purpose have been stuck in local political squabbles. However, Maris Gailis, former Prime Minister of Latvia and chairman of the local Richard Wagner Association, has now given new impetus to the plan to turn the building into much more than just a Wagner pilgrimage site.

In the complex, which will hopefully soon be thoroughly renovated and expanded, an international cultural centre is to be created in which Wagner’s ideas of a Gesamtkunstwerk encompassing all forms of artistic expression on an equal footing are to be transferred to the present and future. Nothing less than a cultural “lighthouse” visible everywhere in Europe is to be created from the previously neglected building. Representatives of all genres, from musicians and directors to film musicians and lighting designers, should each work there for a while and be able to contribute their share to the further development of music theatre. Once restored, the theatre hall, which will hold around four hundred visitors, would at least be suitable for chamber concerts and opera performances with a small cast. In the other rooms, some of which have a stately appearance, young musicians from all over Europe could train in seminars and courses. The cultural centre should also be open to the public. Museum rooms, concerts, readings and festive events should also attract the crowds of tourists flocking to Riga.

This all sounds very promising, but the decisive factor will be whether the ambitious project can be financed. Twenty-five million euros have been estimated for renovation and expansion, and another ten million euros or so for equipment and various follow-up costs. The fundraising is in full swing, and the response so far from potential public sponsors such as private sponsors, patrons or patrons gives those responsible confidence. Gailis has convinced a whole range of personalities of the urgent need to save the building from further decay or even demolition and to prevent a shopping centre from being built on the historic site.

As allies, Gailis has already won over the current Latvian President Egils Levits, Wagner’s great-granddaughter Eva Wagner-Pasquier, Elisabeth Motschmann, a member of the Bundestag who is committed to German-Baltic exchange, project manager Konrad Winckler and German Wagner associations.

Latvian and German cultural workers, politicians and organisations are primarily committed to the project – Brussels and the individual member states of the European Community would have to contribute more than just a small mite to the development of such an ambitious international project.

Josef Oehrlein

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Wagner’s vision of the Festspielhaus

The former German Theater in Riga is to become an international music center / By Josef Oehrlein, Riga

It was only two years during which Richard Wagner worked as conductor at the Deutsches Theater in the Latvian capital, Riga, which at the time belonged to Russia. From 1837 to 1839, he obviously had to serve the routine opera repertoire of the time there in a rather bored manner. But at the same time he received groundbreaking impulses for his future work. He was fascinated by the amphitheatre-style rising parquet floor, the darkened auditorium with its focus on the illuminated scenery and the orchestra, which was partly concealed under the stage. These special features of the Riga theatre impressed Wagner and influenced his ideas of his own musical theatre building, as he later realised it in Bayreuth.

Wagner’s artistic development also received decisive impulses in Riga. In addition to opera, he created his own concert series, especially with works by Mozart and Ludwig van Beethoven, and worked on his first truly great opera, “Rienzi, the Last of the Tribunes”. He had already begun composing it before his time in Riga, although it was not premiered until 1842 in Dresden. And on his adventurous flight from Riga to escape his creditors, Wagner, who was notoriously over-indebted, had the inspiration to create an opera from his impressions of the stormy sea journey. It became the “Flying Dutchman”.

The German Theatre in Riga was a centre of German culture even beyond Wagner’s time. Franz Liszt, Clara Schumann and other renowned artists from the German-speaking world gave guest performances there. The German-Baltic Baron Otto Hermann von Vietinghoff had had the palace-like complex built as a private investor, as one would say today, in the second half of the eighteenth century; the German architect Christoph Haberland had planned it. When the new opera house in Riga, which opened in the sixties of the nineteenth century, went into operation in 1862, the German Theatre lost its importance. During the Soviet era, it was given new fixtures as the “Wagner Hall” and used for various cultural purposes, including a library, dance hall and music club.

The building has been closed for a decade and a half because of cracks and other defects, some of which were very serious. It seemed to be left to decay. There were repeated attempts to renovate the building and revive it, but the project got stuck in Riga’s communal squabbles, and above all there was always a lack of money. Another priority was the project to provide the city with a large concert hall. The “Wagnersaal” is not suitable for this purpose, although a large building complex opens up behind the inconspicuous façade on Richard-Wagner-Strasse. It accommodates a large number of medium-sized rooms, some of them of a stately character. But a hall for concerts and other events can be accommodated in the building for at most about four hundred visitors.

Riga still does not have a concert hall, apart from the Great Guild, but now the Wagner Hall project is gaining momentum. The driving force behind the project is former Latvian Prime Minister Maris Gailis, chairman of the Riga Richard Wagner Society. He has convinced a number of personalities of the necessity of saving the building from decay or even demolition. As allies, he has already brought on board the incumbent Latvian President Egils Levits, Wagner’s great-granddaughter Eva-Wagner Pasquier, Elisabeth Motschmann, a member of the German Bundestag who is committed to German-Baltic exchange, and project manager Konrad Winckler, as well as German Wagner associations, and above all several sponsors who have already expressed their serious commitment to financing the reconstruction and expansion.

In the meantime, there are quite clear ideas on how the building complex can be used: as a musical cultural centre with a restored theatre hall, a museum and rooms for seminars and for young musicians to meet luminaries in their respective fields in an international scholarship programme. The Riga-born violinist Gidon Kremer, for example, would like to maintain an office in the building and offer master classes. But the centre is also to be open to the public. The reconstructed hall would at least be suitable for chamber concerts and opera performances with a small cast, for example of works from the baroque period, and the museum could develop into a magnet for the flocks of tourists who come to Riga mainly from cruise ships.
The three-storey building complex with a total area of five thousand square metres, which can be extended to five storeys, is still owned by the city of Riga, but it is to be handed over to the local Wagner Society under conditions of use; a law to this effect is expected to be passed shortly. Twenty-five million euros have been estimated for the renovation and expansion, and another ten million euros or so for the equipment and various follow-up costs. Fundraising is still in progress. In an interview with this newspaper, Gailis expressed confidence that the renovation work could begin in a year or two. The music centre could then open in 2024 at the earliest.

In the meantime, the project is largely a Baltic-German project. In view of the importance of Richard Wagner as a European artist, Brussels and the European countries in general must also commit themselves to the preservation of the Palace of Culture and its future sensible use. Nothing would be worse than for the house to fall into the hands of commerce. Sad to think that a shopping centre could move in where Richard Wagner spent two crucial years of his artistic life.

published in the Frankfurter Allgemeine Zeitung 6. Dezember 2020

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RWVI WAGNER NEWS – Nr. 10 – 07/2019 – deutsch – english – français

           Member societies are kindly requested to send us information about news and events using the download forms on our website.
           · Link to send News: http://www.richard-wagner.org/send-news/
           · Link to send Events: http://www.richard-wagner.org/send-event/
Please help us by using these forms.

 

Dear Wagner community worldwide,

It’s almost time for the 2019 Bayreuth Festival to open its doors to Wagnerians world-wide and the anticipation for what promises to be another exciting year is growing.

There are anniversaries to celebrate this year – of both Wolfgang and Siegfried Wagner, with events to commemorate these running throughout the Festival period. There is also a Wagner to commemorate for a life very well lived – Verena, who died recently, was the last surviving granddaughter of Richard and was much loved in the Wagner community. RWVI President Horst Eggers has written his welcome letter to all Wagner Societies for 2019 and you will find a link to this below.

Details of the events can be found in the Events section of our website and several are listed below with links to more detailed information.

The present Board is entering its final few months in office, with elections for the next 5-year term to take place at our annual Congress in Venice. We have reflected on our achievements and also on our shortcomings and, should those of us who will decide to stand again be re-elected, we will do our utmost to take your comments on board and to build on our achievements in a spirit of continuous improvement.

This will be our last newsletter in this format. Many of you have told us that you find the newsletter too long and too infrequent. From September/October onwards we plan to issue a monthly short newsletter by email (with a separate email for each of our language groups), to ensure that the news is current and relevant. As ever, we need your help to keep the information coming in to us.

We are also planning some exciting changes to the website, with the introduction of a members’ area, where Presidents will be able to log-in and will be able to update their data with any changes, post comments, including news about tickets for Wagner productions for sale and communicate with each other on matters of interest. The aim is to create an electronic notice board for our members and to make our site more interactive.

We hope you enjoy our Newsletter.

Your Newsletter team

 

Contents:
           1) RWVI-news
           2) News from Bayreuth
           3) News/Events/Successes of RWVI member societies
           4) New books, CDs, DVDs
           5) Perspectives on Wagner productions

 

1) RWVI News

RWVI Annual Reports 2018
The collection of Annual Reports for 2018 from the RWVI members are now available to read and download on our website
https://www.richard-wagner.org/rwvi/en/news/newsletter/

Keynote Wagner 2019 – “Richard Wagner and Theology”
The weekend symposium held in Munich from 22 to 24 March 2019 was a success
https://www.richard-wagner.org/rwvi/en/events/cue-wagner/keynotewagnerarchiv/?collection_id=2080

The next Keynote Wagner will be held in Reykjavik in May 2020
The topic is The Nordic Sources and their impact on Wagner. The provisional programme can be found on our website and the Wagner Society Iceland is working
with Ars Musica to create a travel package
https://www.richard-wagner.org/rwvi/en/events/calendar/?collection_id=2141

Ring Award 2020 – The programme and booking forms are now available
Supported by the RWVI, this renowned competition for young directors and set designers will take place once again in Graz in 2020
https://www.richard-wagner.org/rwvi/en/news/news-committee/?collection_id=2070

RWVI Congress 2019
The next International RWVI Congress, hosted by the WS Venice will take place from 28 November to 2 December. The final programme, along with booking forms are now available on our website. This conference is proving very popular and members are urged to book as soon as possible. The programme is very impressive.
https://www.richard-wagner.org/rwvi/en/events/calendar/?collection_id=1754

Southern German Wagner Societies held a successful conference
Chairs from 5 southern German societies gathered in Munich in the „Movimento“ to exchange experiences
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2067

Another successful regional conference for RWVI member societies in Austria
All the Austrian Chairs met up in Salzburg in the Mozarteum to exchange their experiences
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2025

 

2) News from Bayreuth

Obituary for Verena Lafferentz-Wagner
The RWVI is in deep mourning for its Honorary Member
https://www.richard-wagner.org/rwvi/en/news/newscommittee/?collection_id=2086

President Horst Eggers‘ welcome letter to the Bayreuth Festival 2019
https://www.richard-wagner.org/rwvi/en/news/news-committee/?collection_id=2181

Dr. Oswald Bauer receives the Bayreuth Gold Medal
On 16 May, Dr. O G Bauer was awarded the Bayreuth Gold Medal for his encyclopaedic benchmark work “History of the Bayreuth Festival 1850 – 2000” and his work for the Bayreuth Festival
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2124

Advance tickets for this year’s interesting Discourse Bayreuth Programme are now on sale
For the third year running, the performances at the Bayreuth Festival will be complemented by a carefully curated programme of supporting events – the link below gives further information in German
https://www.richard-wagner.org/rwvi/de/nachrichten/praesidium-news/?collection_id=2104
Tickets for the events, including concerts can be bought on Ticketmaster:
https://www.ticketmaster.de/artist/bayreuther-festspiele-tickets/957968

Siegfried Wagner events in Bayreuth
To commemorate the 150th anniversary of the birth of Siegfried Wagner, the International Siegfried Wagner Society is putting on a number of events during the Festival, including a performance of one Siegfried’s operas
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2179

Performers for this year’s Scholars concert along with details of date, time and how to buy tickets have now been published
https://www.richard-wagner.org/rwvi/en/news/news-committee/?collection_id=2201

Scholarship Week dates announced for Bayreuth 2020
https://www.richard-wagner.org/rwvi/en/news/news-committee/?collection_id=2174

 

3) News/Events/Successes of RWVI member societies

Augsburg
In co-operation with the WS Augsburg, a concert with excerpts from Parsifal was held at the Wartburg in Eisenach on 25 April. Link to article in German.
https://klassik-begeistert.de/richard-wagner-parsifal-wartburg-bei-eisenach-25-mai-2019/

Brussels – A Wagner weekend in Brussels
A Tristan weekend in Brussels on 11 and 12 May 2019 – shared pleasure in Wagner is doubly joyful
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2109

Düsseldorf
In co-operation with the Heinrich-Heine-University Düsseldorf, the Wagner Society of Düsseldorf is conducting a market research exercise from April to July 2019
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2060

Frankfurt
Members of the WS visited Bayreuth out of season (link to article in German)
https://www.richard-wagner.org/rwvi/de/nachrichten/mitglieder-news/?collection_id=2085
Johannes Martin Kränzle was awarded the Rheingold Prize by the WS Frankfurt on 17 February 2019, giving him honorary membership in the „somewhat different fanclub“.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2020

The „somewhat different fanclub“ live on 27 July
The radio station Hessischer Rundfunk (hr2) will broadcast an extensive one-hour portrait of the WS Frankfurt in its “Music scene in Hesse” programme. The broadcast will take place from 15:00 to 17:00 CET. In a live interview, hr2 editor Christiane Hillebrandt will ask the Chairman Dirk Jenders about the diverse life of the Frankfurt society. Naturally, appropriate music will be played.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2189

Iceland – visit to New York for the Ring
16 members went to New York to join many Wagnerians from around the world for the Met’s Ring
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2130

Kassel – News from the Staatstheater
• Premiere of the new production of Siegfried on 14. September
• New Deputy Music Director at the opera house -Mario Hartmuth
• New theatre education initiative “The Young State Theatre”
Theatre conference of the Protestant Academy Hofgeismar
• This year’s theme: Richard Wagner – Die Walküre
The Boundlessness and Genius of Richard Wagner
• -A lecture was given at the beginning of May in the series “Psychoanalysis on the Road”. Prof. Dr. Dieter Ohlmeier (Kassel) dealt with Wagner’’s Ring from a psychoanalytical point of view.
http://www.wagner-verband-kassel.de

Leipzig – Wagnerians in the Orient
A group of 30 members of the WS visited Abu Dhabi to attend a guest concert performance from the Bayreuth Festival of Die Walküre
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2001
The Leipzig Richard Wagner Prize for young artists 2019 was awarded to 23 year old oboist Alexander Kaul, from the Hochschule für Musik und Theater Rostock.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2138

Lisbon – a surprise birthday party for Wagner from the enterprising Portuguese
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2126

London – 2019 Singing Competition announced
23 November, Wigmore Hall, London, 11am
https://www.richard-wagner.org/rwvi/en/events/calendar/?collection_id=2050

Lyon – Wagner and the Rhônegold – A conference in Lyon in April
Several members of various French Wagner Societies attended this conference with lectures, readings, a gala dinner and a tour of Lyon.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2121

The Wagner House in Meudon
http://rwv-muenchen.de/Files/Maison_Wagner_Article_VLC14.pdf

Munich – Live Painting with the Chair of the Brno WS
An original painting by the Czech artist Vladimir Kiseljov has found a home in Linz. Born in 1984, the artists is well known to members of the RWVI.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2066

Netherlands – the Wagner Genootschap names two new honorary members
Edo de Waart and Henk de Vlieger were bestowed on 25 May with honorary membership by the WS Netherlands.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2114

Newsletters – the latest from Brussels, Toulouse, Melbourne, Paris and New Zealand
All available to read on our website.

New York – annual Bayreuth lectures to be given by Professor J. J. H. Muller in he Arvena Kongress Hotel from 17-29 August
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2198

Nice Côte d’Azur A lecture by WS President Michèle Bessout
7 September „De Rienzi au Vaisseau Fantôme, ou la Révélation du Génie »
https://www.richard-wagner.org/rwvi/en/events/calendar/?collection_id=2187

Nuremberg – News from the WS in the city of the Mastersingers Symposium on the 150th birthday of Siegfried Wagner
Saturday 19 October, 11:00 – 17:00. Loew Merkur hotel, Pillenreuther Str. 1, 90459 Nuremberg.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2193

Singapore – former Chair awarded honorary degree
Juliana Lim, former Chair of the Wagner Association of Singapore, was awarded an honorary doctorate by the University of Essex UK to acknowledge her contribution to the arts.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2110

Wagner soprano visits Singapore
The up and coming British soprano Rachel Nicholls visited Singapore and met members of the local WS
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2118

Southern California – WSSC to host gala dinner once more in Bayreuth
For those in Bayreuth on 25 August, tickets are now available to attend this delightful annual event in the Steigenberger Restaurant after the show.

Toulouse – Cercle Wagner to host a Parsifal weekend in February 2020
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2095
Wagnerian Toulousains visit Bordeaux
10 members of the Cercle Wagner de Toulouse visited Bordeaux in May to attend a performance of Die Walküre
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2117

 

4) New books

 

New Books in German

Wieland Wagner: Ästhetik, Zeitgeschichte, Wirkung
Stephan Mösch / Sven Friedrich bei Könighausen und Meumann The presentation of the book will take place on 24 July at 10 am in Haus Wahnfried
https://www.amazon.de/gibt-nichts-Ewiges-Wieland-Wagner/dp/3826062361/ref=sr_1_1?__mk_de_DE=%C3%85M%C3%85%C5%BD%C3%95%C3%91&keywords=es+gibt+nichts+ewiges&qid=1562830592&s=gateway&sr=8-1

Dr. Martha Schad
„Cosima Wagner und Ludwig II von Bayern – Briefe”
http://rwv-muenchen.de/RWV_Veranstaltung_2019_Schad_Cosima_Ludwig.php

Frankfurter Wagner-Kontexte – Volume 2
Volume 2 in the series published by the WS Frankfurt is now available.
This new volume is dedicated to the violinist August Wilhelmj (1845 – 1908), who was one of the greates violinists of his time, and a key influence on Wagner.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2111

Max is to blame: or a self-fulfilling prophecy
The world-famous bass-baritone Bernd Weikl makes his literary debut
https://www.amazon.de/Max-ist-schuld-erf%C3%BCllende-Prophezeiung/dp/3000623671/ref=sr_1_2?__mk_de_DE=%C3%85M%C3%85%C5%BD%C
3%95%C3%91&keywords=bERND+WEIKL&qid=1559041306&s=gateway&sr=8-2

Cosima Wagner and Ludwig Il of Bavaria: Letters: An astonishing correspondence
The well-known and popular historian and author Martha Schad from Augsburg turns once again to the subject of Wagner..
http://rwv-muenchen.de/RWV_Veranstaltung_2019_Schad_Cosima_Ludwig.php

Musical life in Germany
In this compendium, the German Music Information Centre (MIZ) brings together in 620 pages background knowledge and data on music culture in Germany. In 22 articles, renowned authors from the fields of science, cultural policy and music practice describe the structures and recent developments in musical life
https://www.miz.org/bestellung.php

Götterdämmerung in der schönen neuen Welt
A Science fiction novel based on the final part of the Ring Cycle – by Stefan Thiel
https://www.amazon.de/RING-G%C3%96TTERD%C3%84MMERUNGSCH%C3%96NEN-NEUEN-WELT/dp/3748509995

 

New Books in English

The July Edition of the Wagner Journal
… With the usual interesting mixuture of scholarly articles and reviews of productions, CDs and books.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2204
www.thewagnerjournal.co.uk

The Only Way is Up – Sir Donald McIntyre has published his memoirs
Sponsored by the Wagner Society New Zealand, this lively account of his singing career by the legendary bass
https://www.nationwidebooks.co.nz/product/the-only-way-is-up-9780995105331

The Trouble with Wagner by Michael P. Steinberg
University of Chicago Press, 2018 $37.50 Steinberg offers an account of the Wagner bicentennial Ring for La Scala/Staatsoper Berlin along with a reading of psychology, philosophy and history.
https://www.amazon.co.uk/dp/B07H9J5RQW/ref=dp-kindleredirect?_encoding=UTF8&btkr=1

Curtain, Gong, Steam: Wagnerian Technologies of 19th Century Opera
By Gundula Kreuzer University of California Press – $55.98. An examination of the intertwined developments of opera as an art form and the technical machines that have brought it to life.
https://www.ucpress.edu/book/9780520279681/curtain-gong-steam

 

New Books in French

Luc-Henri Roger on Das Rheingold „Les Voyageurs de l’Or du Rhin“
On the occasion of the 150th anniversary of the first production of Das Rheingold in Munich, Belgo-German author Luc-Henri Roger has published a new book.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2149
This book will be formally presented by the Wagner Museum Bayreuth on 29 July and will be on sale in the Museum bookshop
https://www.richard-wagner.org/rwvi/en/events/calendar/?collection_id=2194

 

5) Perspectives on Wagner productions

The Staatsoper unter den Linden in Berlin will present its current production of Der Ring des Nibelungen for the first time in the renovated opera house. This production was created for the Wagner anniversary in 2013 in cooperation with the Teatro alla Scala and was previously staged in the Schiller Theatre. Conductor – Daniel Barenboim, Director – Guy Cassiers. Among the soloists are: Iréne Theorin, Michael Volle, Andreas Schager, Falk Struckmann, Simon O‘Neill, Anja Kampe and Stephan Rügamer.
Cycle I from 7-15 September, Cycle 2 from 21-29 September
Currently sold out, but keep an eye out for returns.

Deutsche Oper Berlin: A new Ring.:„At the Deutsche Oper Berlin Stefan Herheim is taking on the task of translating the mindset of Wagner’s tetralogy into the 21st century.“ The production will begin with Das Rheingold on 12 June 2020. Conductor Donald Runnicles. The cast includes Derek Welton, Markus Brück, Thomas Blondelle and Annika Schlicht.

Brisbane, Opera Australia
In November/December 2020 a new, fully digital production of the Ring will be staged in Brisbane. The Director will be Shi-Zheng Chen and the conductor has been named as Philippe Auguin . Among the artists performing will be Stefan Vinke, Allison Oakes and Vitalij Kowaljow.
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2142

The Royal Opera, Copenhagen will present three semi-staged performances of Tristan und Isolde on 27 October, 3 November and 14 November 2019. Conductor Lothar Koenigs. The title roles will be performed by Ann Petersen and Christopher Ventris.
https://kglteater.dk/en/whats-on/sason-20192020/opera/tristan-og-isolde/?section=top

Vermont Company to stage Tristan this autumn
It’s always exciting when a young company get together to stage Wagner in a local theatre with young singers
https://www.richard-wagner.org/rwvi/en/news/news-members/?collection_id=2057

Göteborg Opera – Sweden
Between 2018 and 2021, a complete Ring cycle will be staged there for the first time, with the conclusion of the tetralogy coinciding with the celebrations marking the 400th anniversary of the city of Göteborg. Das Rheingold premiered last November.

Staatstheater Kassel, Rheingold
Kassel is forging its new Ring, which will complete in 2020. The premiere of Rheingold took place last September, Walküre premiered in March this year, Siegried
will premiere on 14 September, followed by Götterdämmerung on 7 March 2020
http://www.staatstheater-kassel.de/der-ring/der-ring-in-kassel/

Announcement from Leipzig Opera
Leipzig Opera has announced that it will stage in June andJuly 2022 performances of all 13 works by Richard Wagner in his birthplace in the order of their creation.
https://www.oper-leipzig.de/en/wagner_22

Stadttheater Minden
In September last year the Minden Ring concluded with Götterdämmerung. This year there will be two complete cycles between 12 September and 6 October.
Director: Gerd Heinz, Conductor: Frank Beermann
http://www.ring-in-minden.de/GD_1_Home.html

Philharmonie de Paris
Concert version of Parsifal 22 November at 16.30. Conducted by Valery Gergiev
https://philharmoniedeparis.fr/fr/activite/opera-en-concert/20248-wagner-parsifal

 

Contact information for your newsletter team:

Andrea Buchanan (English, French, German)
andrea.buchanan@richard-wagner.org
Jacques Bouffier (French, English)
jacques.bouffier@richard-wagner.org
Selma Gudmundsdottir (Icelandic, English, German, Danish, Swedish)
selma.gudmundsdottir@richard-wagner.org
Karl Russwurm (German, English)
karl.russwurm@richard-wagner.org

 

THE END NL10

Full text in PDF: PDF

Showing his support for the renovation of Wagner’s Theatre in Riga, the world famous bass baritone Egils Siliņš sings Dutchman’s Monologue from Wagner’s opera The Flying Dutchman in a pedestrian tunnel.

CREATIVE TEAM:
Directed by – Andrejs Verhoustinskis
Designer – Ineta Sipunova
Sound director – Artis Dukaļskis
Video operators – Andrejs Verhoustinskis, Jēkabs Štelmahers un Dāvids Gržibovskis

PRODUCED BY:
Rīgas Riharda Vāgnera biedrība

SOCIAL MEDIA:
Web page – https://vagneriga.lv/
Facebook – https://www.facebook.com/vagneriga/

The Latvian entrepreneur and politician Maris Gailis could be enjoying his retirement. However, Gailis who served 462 days as Latvia’s Prime Minister is a man who likes challenges. His newest, which has become an all-consuming passion, is to see the Wagner House and Theatre in Riga’s Old Town return to its former glory and again bustle with artistic activity.

To assist him in his efforts, Gailis has enlisted the support of several noted individuals, including Richard Wagner’s great-granddaughter, the opera manager Eva Wagner-Pasquier, who visited Riga for the launch of a massive campaign to raise awareness of the deteriorating state of the building. The message that something needs to be done was clear. “The time of talking needs to stop and action is required,” Gailis told The Baltic Times.

Raising awareness of the condition of the building and Gailis’ plans have both kicked off in earnest. “Our campaign started in October last year. It was to have featured 800 singers. However, due to inclement weather, 400 singers assembled and braved the rain and marched through Riga singing the Pilgrims Chorus from Wagner’s opera Tannhauser. They made their way to the Wagner House and Theatre to affirm that the building is not only part of Riga’s musical and cultural legacy, but a legacy that belongs to the world,” Gailis said.

The building was last used in 2007 when the concert hall was forced to shut its doors in response to worsening structural conditions. It was put in the possession of the Latvian Ministry of Finance, who entrusted management of the building in 2005 to SJSC State Real Estate.

According to Gailis the building has major structure damage, cracks in the walls, problems with leaking water and mould. SJSC State Real Estate believes that the hall is a monument of cultural heritage which must be renovated as soon as the necessary funding is found.

“But until then we must be able to provide at least the minimum conditions for the preservation of the building’s cultural heritage and values,” the Latvian Ministry of Culture informed The Baltic Times.

“Thank goodness that the Latvian government keeps the heating on in the building during the winter and allocates money for this purpose. This has avoided further deterioration,” Gailis said.

The average annual heating cost for the building over the past five years has totalled €7,000, including VAT. In turn, the total direct expenditure of maintaining the building, including utilities, the maintenance of engineering networks, staff salaries, household supplies, and repair works total on average €17,500 per year.

According to a technical inspection report which was carried out in January, the building was found to be in a partially satisfactory technical condition.

“Bearing witness that this architectural monument which is of national interest has been progressively eroding under the impact of time, the Ministry of Culture, despite not being the owner of the building, ordered a feasibility study (calculations of the economic financial viability of a public-private partnership) of the development possibilities for the Wagner Hall,” the Ministry of Culture noted.

The Ministry of Culture has been actively engaged in the work of a commission that was established by the building’s owner. The commission has developed a report setting out the possibilities for the building’s future development. After examining the report, the Latvian Cabinet of Ministers will decide on a renovation model.

The Ministry of Culture supports that the vision offered by the working group, which envisages the renovation of the Wagner Hall will be in line with the nation’s financial possibilities. The Ministry of Culture believes that public investment or a public-private partnership for the renovation of the Wagner Hall would be to the most appropriate action.

“There have been many individuals in the past that have been involved in trying to preserve the building’s cultural value, but there’s been much talk and little action. Nevertheless, at least they pushed the project forward, and now we’re working in the same direction,” Gailis said.

Gailis founded the Wagner Society of Latvia which has provided him with a platform to drive the ideas which he’s been developing and envisioned for the Wagner House and Theatre. He’s enlisted the support of his wife who’s drawn up his project’s design plans. Gailis’ wife is Zaiga Gaile from the architecture firm Zaigas Gailes Birojs, one of the leading and renowned architect companies in the Baltic States. Gailis said that if he undertakes this project, he’ll do it his way.

“Normally, Wagner societies around the world deal with scholarships, concerts and education, but in our case the Wagner Society of Latvia’s main goal and priority at the moment is to restore the theatre where Wagner conducted,” Gailis said.

The original German Theatre was built in 1782 by the Baltic-German architect Christoph Haberland, and served as the city’s cultural centre for over a century until it was destroyed in the mid-19th century after Riga built a new opera house.

“My wife has already designed a third version of my proposal where we’ll rebuild a 400-seat theatre. Wagner‘s legacy that Latvia has been entrusted with in this house and theatre also belongs to the world,” Gailis noted.

Richard Wagner arrived in Riga in 1837, becoming the first Chief Conductor of the City Theatre at the age of 24. During his two years as Kapellmeister he oversaw the production of 39 operas. His dismissal came only as a response to the composer’s alleged financial misdeeds in Riga.

A controversial figure, Wagner developed a number of innovations whilst in Riga that changed opera and classical music forever, and he holds an indelible role in the musical history of Latvia’s capital.

Wagner implemented four major ideas whilst employed at the theatre. Firstly, he conducted facing the orchestra, with his back turned to the audience. He also lit only the stage where the performance was taking place. “The idea apparently came about as the citizens of Riga were greedy and didn’t want to pay for candle lighting in the audience area, which was a normal practice in European theatres at the time. This partly provided lighting for audience members to show off their clothing, and enabled them to see each other,” Gailis said.

Wagner realised that lighting only the stage would allow the audience to concentrate solely on the performance. So the audience area was darkened. Whilst in Riga, Wagner was already developing his ideas for a new theatre which he would replicate in Bayreuth. A theatre having good sight lines and good acoustics for all, and similar in design to a Greek amphitheatre. Lastly, the orchestra was placed partially under the stage which assisted dampening the sound so as to not drown out the singers on stage. “It somehow also helped with the resonating of the sound. Wagner’s time in Riga greatly influenced his future design plans for the Bayreuth Theatre,” Gailis noted.

Gailis believes that he’s put together a great design plan for the restoration of the building, along with a great team of experts.

“My wife is working with Europe’s leading theatre advisers and theatre designers based in Amsterdam, who are also involved in this Wagner project which I’m proposing. I have other specialists working on the museum part,” said Gailis.

“This means that we’re well prepared against any other project ideas that may perhaps come in later when the government announces a tender. This is our advantage, and no one can blame us, as this is our idea. We’ve been working on our idea for three years. Nevertheless, let’s wait and see what the government decides.”

“The Latvian government however does also have other priorities. A new concert hall, for example. The Minister of Culture informed me that they’re no longer considering the Merks concert hall proposal at Skanste, which I didn’t like. The Ministry of Culture has again opened up to the idea of the possibility of the wonderful concert hall proposal by the architect Andis Silis on the AB Dam, near the Latvian National Library.”

‘‘However, the restoration efforts would need to proceed in tandem with any other concert hall proposal, because if the Wagner project goes ahead The Latvian Ministry of Finance may forget about what is perhaps the country’s main priority, namely a large 2,000-seat concert hall.”

“The Ministry of Finance has prepared three proposals concerning what to do with the Wagner House and Theatre building. The first is not to sell it, which is politically not acceptable. It would be rented out to generate income, which again is stupid, except if you perhaps convert it into a hotel or casino. This would mean nobody could undertake this from a commercial point of view. It’s impossible. The second option is a private-public partnership, which we support. The third option would be for the government to finance the renovations completely and allocate funds to the Ministry of Culture to operate the building.”

“However, I must thank The Baltic Times for the new idea that our interview placed into my mind of seeking funds from abroad for the restoration efforts, perhaps from Wagner lovers, multinational companies or wealthy cultured individuals and so on. This never occurred to me.”

Even so, Gailis believes he’d need to raise approximately €20 million for the plan he’s proposing. “But to pursue this option, all legal issues and requirements would have to be discussed with the Ministry of Culture. And we’d need an auditing firm to monitor any funds raised, as well as expenditures,” said Gailis

“But Wagner’s great-granddaughter, Eva Wagner-Pasquier, is in a position to help us, within any Ministry of Culture legal framework of course, to raise money in Germany. And from Bayreuth, Horst Eggers the chairman of the Richard Wagner International Associations around the world is also ready to help, as are several German politicians I met in Bayreuth during my visits there attending Wagner’s Bayreuth Festival.”

Gailis has on two previous occasions raised large sums of money. The first was in connection to his circumnavigation of the world in 2000, which companies financed. The amount was approximately US$500,000, and was connected with advertising, a film and a book. On the second occasion he raised €400,000 for the award-winning Zanis Lipke Memorial on the island of Kipsala in Riga, which Gailis’ construction company built.

For now it’s a waiting game for Gailis. “At least the government has the proposal on the agenda,” he said.

“Hopefully in May it will appear on the government’s timetable. It remains very important for me, as the government concludes working in November and who knows who’ll be in the next government. My aim is to have until September/October a government decision on what proposal it will pursue. However, it’s being discussed, and they now know that it can’t be thrown out.”

At the moment, everyone on Gailis’ team is working on the project on a voluntary basis, and are driven by a shared passion and commitment.

“I trust that this project may be a sort of swan song of my life. I am, however, no longer a young man. And I’ve become sick and tired of dealing with bureaucracy, but I’ll continue to devote all my available energy, along with a great group of individuals who share my passion and love of Wagner, to see the Wagner House and Theatre finally restored and renovated, and for Riga to take its place as a Wagner city.”

Wagner wrote the first two acts of his opera Rienzi while in Riga, and he claimed in his 1870 autobiography Mein Leben (My life) that he’d been inspired to write The Flying Dutchman following a stormy sea crossing he made from Riga to London in 1839.

Avots: www.baltictimes.com