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DTSTART;TZID=America/New_York:20241208T120000
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DTSTAMP:20260429T001335
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SUMMARY:Seminar: Die Frau ohne Schatten
DESCRIPTION:Photo: Ken Howard / The Metropolitan Opera \nThis is the Society’s annual “deep dive” into a Wagner-related work currently in the repertory of the Metropolitan Opera.  This year we will visit a work that many regard as Richard Strauss’s masterpiece: Die Frau ohne Schatten.  Join us in a conversation about Richard Strauss’s most richly scored and opulently exotic work\, with a highly symbolic and intellectual libretto by Hugo von Hofmannsthal\, a mixture of fairy-tale\, magic\, and Freudian psychology. \nSpeakers include Prof. Bryan Gilliam of Duke University\, Dr. Anna Balas of the New York Psychoanalytic Society and Institute\, Prof. Larry Wolff of New York University\, and our very popular Singers’ Roundtable featuring members of the cast of the Met production.  Critic and lecturer David Shengold will return as our Moderator. \nProgram: \nPDF Download: WSNY Die Frau ohne Schatten Seminar Program \n\n\n\n12:00 p.m.\nWelcome by Chairman John Ryan and Moderator David Shengold\n\n\n12:05 – 12:55 p.m.\nProf. Larry Wolff\, “Die Frau ohne Schatten\, World War One\, and the Departure of Emperors and Empresses”\n\n\n12:55 – 1:15\nbreak\n\n\n1:15 – 2:00 pm\nDr. Anna Balas\, “Shadowless Women: A Psychoanalytic Perspective”\n\n\n2:00 – 2:15 p.m.\nbreak\n\n\n2:15 – 3:00 p.m.\nMet Cast Roundtable: \nMichael Volle (Barak the Dyer)\nLise Lindström (Dyer’s Wife)\nElza van den Heever (Empress)\nJessica Faselt (Voice of the Falcon) \nother cast members TBA \n\n\n\n3:00 – 3:15 p.m.\nbreak\n\n\n3:15 – 4:00 p.m.\nProf. Bryan Gilliam\, “Die Frau ohne Schatten and the Problem of Marriage”\n\n\n\n  \nSpend the day exploring an opera that author Sherrill Hahn Pantle said “stands before the audiences of the last quarter of the twentieth century as the incarnation of a lost innocence and the realization of a lost hope.” \nBooks and other items relating to Strauss and Wagner will be available for sale and refreshments will be served. Continue the conversation over dinner or a drink: for post-event gatherings\, we recommend Bohemian Spirit\, the Czech restaurant located on the first floor of Bohemian National Hall. \nDiscount Tickets: WSNY Members get 15% off the Met’s run of Die Frau ohne Schatten this season – check your email for details. \nLivestream is available; or watch up to 36 hours after the program (midnight Tuesday\, December 10). \nAbout the speakers: \n\n\n\n\nAnna Balas MD is a psychiatrist and psychoanalyst for adults and children in private practice on the UES in Manhattan. She is a training and supervising analyst at the New York Psychoanalytic Society and Institute\, the oldest in the US. She teaches on Normal and Pathological Narcissism and on Psychic Trauma. Dr. Balas is also Associate Professor at the Payne Whitney Division of the Weill Cornell Medical Center. She has an interest in transcultural factors and creativity. She is the author of a chapter entitled “Yearning for Intimacy: Bela Bartok’s Duke Bluebeard’s Castle” in a volume entitled Opera on the Couch: Music\, Emotional Life and Unconscious Aspects of the Mind\, editors S. Goldberg and L. Rather (Routledge\, 2022). \n\n\nDavid Shengold is a critic and lecturer and resides in New York City. He regularly writes for Opera (with Opera News) as well as Opéra Magazine\, Opernwelt and other publications. He has done program essays for companies including the Metropolitan Opera\, Lyric Opera of Chicago\, Washington National Opera\, Royal Opera House Covent Garden\, and the Wexford and Glyndebourne festivals.  \n\n\n\n\nBryan Gilliam Ph.D.  is Professor Emeritus at Duke University (Department of Music and German). He has published five books on Richard Strauss\, most recently Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera (Cambridge University Press). He is writing a sixth one on Salome for Oxford Keynotes. Beyond scholarly venues\, he has given lectures at various national and international festivals such as Bayreuth\, Salzburg\, and Mostly Mozart\, among others; as well as opera and concert venues: Lincoln Center Great Performances\, New York Philharmonic\, American Symphony Orchestra\, Philadelphia Orchestra\, Santa Fe Opera\, and the San Francisco Opera. Besides Strauss\, he has published on Anton Bruckner\, Kurt Weill\, and Erich Wolfgang Korngold. \n\n\nLarry Wolff Ph.D. is Julius Silver Professor of History at New York University.  At NYU he has previously served as Executive Director of the Remarque Institute and as Co-Director of NYU Florence at Villa La Pietra.  His most recent book (a book about Die Frau ohne Schatten) is The Shadow of the Empress: Fairy-Tale Opera and the End of the Habsburg Monarchy (2023).  His books also include The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon (2016)\, The Idea of Galicia: History and Fantasy in Habsburg Political Culture (2010)\, and Inventing Eastern Europe:  The Map of Civilization on the Mind of the Enlightenment (1994).  He writes frequently about opera\, publishing essays and reviews in the Times Literary Supplement\, the New York Review of Books\, the New York Times\, the New Yorker\, the Los Angeles Review of Books\, and the Hudson Review.  He is a member of the American Academy of Arts and Sciences. \n\n\n\n\nVenue & Accessibility: Bohemian National Hall\, 321 East 73rd Street (between 1st Street-2nd Avenue)\, Third Floor \nThere are smooth sidewalk cutouts at 73rd & Second Ave.; those at First Ave. are uneven. Look for the access ramp to Bohemian Spirit Restaurant to the left of the Hall; the venue is fully accessible. WSNY Seminar is on the 3rd Floor\, via elevators\, and seating can be arranged to accommodate walkers and wheelchairs. ADA compliant restrooms are conveniently located on the same floor.
URL:https://wagnersocietyny.org/event/diefrauseminar/
LOCATION:Bohemian National Hall\, 321 E 73rd St.\, Third Floor\, New York\, 10021\, United States
CATEGORIES:Artist Talk,Seminar
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CREATED:20231005T022811Z
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SUMMARY:Tannhäuser Seminar
DESCRIPTION:Tannhäuser Seminar\n“I still owe the world a Tannhäuser” – Richard Wagner \nA half-day exploration of Wagner’s opera\, our annual seminar offers a deep-dive into the work and coincides with the Met Opera production this winter. \n\n\n\n\n\n\n“Remember\, composers do not always develop stylistically in a linear manner. For instance\, the most forward-looking scene in Tannhäuser is the Rome Narrative. It's the only place where Wagner has a variety of motifs unfolding in the orchestra\, where the vocal part is really written in response to the text. There's nothing else like it in the piece: that was there in 1845; that wasn't changed later.” - John J. H. Muller IV\, “Tannhäuser: Thoughts on the Different Versions”\n\n\n\n\n\n\n\nMet Cast Roundtable: Elza van den Heever (Elisabeth)\, Ekaterina Gubanova (Venus)\, George Zeppenfeld (Landgraf)\, Christian Gerhaher (Wolfram) \n\n\n\n\n\n\n\n"I think even for [Venus]\, [Tannhäuser] is special\, he's not like any other mortal. He's an artist\, he's an exceptional artist\, and she feels for him. What I like thinking when I'm in it\, when I'm on stage with all these manipulations and mood changes that she has\, I like thinking that there's a fight inside her between a woman and a goddess. So there is something still in her that is very womanlike\, very real. And then the goddess takes over." - Ekaterina Gubanova (Venus)\n\n\n\n\n\n\n\n“Isn't it interesting that mostly in Wagner operas\, it's mostly not the fathers who care for the daughters? It is the uncle\, this main positive relationship. You look at Daland\, and also at Pogner\, they are only busy to get them married - with some advantage for themselves. So maybe Wagner is mirroring his own life in many of his operas. He doesn't have a good idea of fathers. [...] it's always problematic.” - Georg Zeppenfeld\n\n\n\n\n\n\n\n"It's very intimate\, I love working with Georg [Zeppenfeld]\, because he does feel very fatherly to me. [laughs] It's that awkward thing when you're trying to talk to your parents about relationships. It is awkward\, but beautiful and intimate\, and I love this tiny little interaction. But also during the Singerfest and during this awful dismantlement of the situation we're in\, we're sort of still in character. We never break character\, that's really nice\, to work with someone who's so committed on stage. I love it." - Elza van den Heever (Elisabeth)\n\n\n\n\n\n\n\n"The tragic origin of this opera I think is a little bit in the last scene of the first act: showing that Wolfram has to re-invite [Tannhäuser]\, get him back\, in order to see Elisabeth again: which he needs - to see her - because he's so infatuated. But on the other hand he knows: it will be the reunion of Tannhäuser and Elisabeth\, because she loves him\, and he maybe loves her as well. So it is a tragic decision he [Wolfram] has to take. Out of this decision\, I think\, the whole horror in the second act and third act\, certainly\, has its origin." - Christian Gerhaher (Wolfram)\n\n\n\n\n\n\n\nOn the clarinet/bassoon/horn ensemble playing: "It's hard in the pit because usually the horns and clarinets are really far apart. For Tannhäuser we're a little closer\, but not close enough that we can really fit into each other's sounds. But when we rehearsed downstairs\, the horns were right behind the clarinets: so it was really easy to start off on the right foot\, and get everyone listening the right way and trying to blend\, so that when we got into the pit\, even though there's more distance\, we're still listening for the same things\, we're still thinking about it the same way." - Anton Rist\, Principal Clarinet\n\n\n\n\n\n\n\n"[Tannhäuser] is really satisfying because it's technical\, but yet you can hear the clarity of it\, and also in this opera\, Wagner is very kind to strings. Because usually it's so heavy throughout\, especially Meistersinger. This one is so kind\, because the first act is hardest. The second act is challenging but it's shorter. And then the third act: we're on vacation!" - Wen Qian\, Violin\n\n\n\n\n\n\n\n"The horn is lucky in the orchestra\, because we are a brass instrument\, but we also really are a woodwind element as well. And it's such a pleasure to play both sides of the colors. [...] In Tannhäuser\, [Wagner] says 1st and 2nd Horn\, and 3rd and 4th Horns are actually 1st and 2nd Waldhorn. Wagner wrote for 2-valve Horn\, and valveless horn. He wanted to achieve smoothness in ther lyricism. So sometimes 3rd and 4th horn are playing by themselves with the woodwinds." - Anne M. Scharer\, French Horn\n\n\n\n\n\n\n\n"I have written in my part: I know who's singing during the song contest. I know who's singing\, and Wagner's writing actually changes depending on which character is singing. For example Wolfram\, every time he sings\, the harp part: he uses the full range of the instrument: lots of arpeggios that start from the bass\, all the way up to the treble of the instrument. As opposed to when Tannhäuser or Biterolf are singing\, it's more of a repetitive\, sort of plucking texture. And so every time I'm playing\, I know who's singing\, and I try to keep that in mind: I'm not just playing the notes on the page\, I'm trying to show the different character that is singing at that time." - Hannah Cope\, Principal Harp\n\n\n\n\n\n\n\nOn the Castellucci Tannhäuser production (2017 Munich\, 2023 Salzburg): "Sometimes the stage pictures are very beautiful\, sometimes merely puzzling - at least on a first watching. [...] in the final act\, Castellucci brings his own agenda to the foreground\, falling back on a practice of his I call "clinical humanism": his use of technical imagery\, such as chemical formulas\, to remind a viewer of the universal and immutable physical that affect every human body." -  Susan Brodie\, “Recent Tannhäuser Productions: Conflicts between Individual Desires and the Common Good”\n\n\n\n\n\n\n\nMembers and guests browse the books and merchandise for sale.\n\n\n\n\n\nProgram:\n12:00 noon: Introduction by David Shengold\, music critic and lecturer \n12:05 – 12:55 pm: John J. H. Muller IV “Tannhäuser: Thoughts on the Different Versions” \nTannhäuser contains elements drawn from the traditions of 19th-century opera as well as more forward-looking stylistic features. A study of the versions of the work\, spanning a period of over thirty years\, demonstrates Wagner’s growth as a composer and dramatist. \n1:15 – 2:00 pm: Met Cast Roundtable \nElza van den Heever (Elisabeth)\nChristian Gerhaher (Wolfram)\nEkaterina Gubanova (Venus)\nGeorge Zeppenfeld (Landgraf)\nother cast members TBC \n2:15 – 3:05  pm: Met Orchestra Musicians Roundtable \nHannah Cope\, Principal Harp\nWen Qian\, Violin\nAnton Rist\, Principal Clarinet\nAnne M. Scharer\, French Horn \n3:20 – 4:10 pm: Susan Brodie\, “Recent Tannhäuser Productions: Conflicts between Individual Desires and the Common Good” \nDownload a PDF of the program here. \nBooks & Merchandise for sale. Refreshments served. Doors open at 11:30 a.m. \nIn-person & livestreamed (viewable online through midnight Dec. 12)\n \nVenue & Accessibility: Bohemian National Hall\, 321 East 73rd Street (between 1st Street-2nd Avenue)\, Third Floor \nThere are smooth sidewalk cutouts at 73rd & Second Ave.; those at First Ave. are uneven. Look for the access ramp to Bohemian Spirit Restaurant to the left of the Hall; the venue is fully accessible. WSNY Seminar is on the 3rd Floor\, via elevators\, and seating can be arranged to accommodate walkers and wheelchairs. ADA compliant restrooms are conveniently located on the same floor.
URL:https://wagnersocietyny.org/event/tannhaeuserseminar/
LOCATION:Bohemian National Hall\, 321 E 73rd St.\, Third Floor\, New York\, 10021\, United States
CATEGORIES:Seminar
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ORGANIZER;CN="Wagner Society of New York":MAILTO:info@wagnersocietyny.org
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