Scenes from Bayreuth (2)

Here are more photos from Bayreuth.

The Festspielhaus is located about a 20-minute walk north from the center of Bayreuth. The approach is dramatic:

My first visit was without a ticket. I went to see the red carpet notables at the premiere of Tannhäuser.

Well, attempted to see. I didn’t get there quite early enough.

Some people took extreme measures for a better view.

But honestly, every person on the carpet had to be identified for me with the exceptions of Angela Merkel and Guido Westerwelle. The guy next to me would say, “That’s the minister of the environment!” and I would say, “toll!” and he would add, “…of Bavaria,” and I would think, “…oh.” I was reassured that a lot of the Germans needed to have the notables identified for them as well. One of the photographers said as he was folding up his tripod that the crowd was pretty B-list compared to previous years.

Merkel stayed the whole week, spending the other nights incognito and unbothered by everyone else (though it’s not like she wasn’t noticed). Her security was very discreet but she’s been coming every year for years and I’m told they have it down to a science.

Here are people milling around during intermissions. As you can see, the dress code is formal compared to anywhere in the US but casual-ish compared to Salzburg. I can endorse Intermezzo’s dress advice as accurate with one exception: I did see at least a half-dozen drindls dirndls each night.

Before the end of each of the very long intermissions, these guys play a fanfare consisting of some music from the next act. Fifteen minutes before they play it once, ten minutes twice, five minutes three times.

I didn’t take any pictures inside because I suspected it was not allowed. I will say that the seats are uncomfortable, but not for the reason I expected. The seat is indeed unpadded, but the only thing that bothered me was how the seat back hit my lower back at an awkward spot.

But other people were taking photos of the Parsifal curtain call so I took one too. The women’s chorus doesn’t appear onstage so they’re just wearing street clothes.

One thing I really liked about the atmosphere was how unpretentious and unritzy it is. People are really there for the music (sometimes in a terrifyingly intense way!), also unlike Salzburg. Even the food tends towards the casual:

I promise I do have a few other things to blog about before the fall season starts, but if it seems like I’m trying to stretch my material out, well, I am.

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Scenes from Bayreuth (1)

Here are some photos I took around Bayreuth.

Above is Wahnfried, Wagner’s house. Unfortunately it’s closed at present, undergoing restoration for the big anniversary year in 2013. The back may look more familiar:

  

The town is quite Baroque:

But also sports a Bavarian totem pole:

One of the older festival visitors:

Intermezzo did a wonderful series of Wagner windows from Bayreuth last year. I saw many of the same ones (I’m sure they haul out the same Wagneriana every year), but I also saw this, in case you have a wound that just will not heal:

(They must have a required Wagner course in pharmacist school, because this is my third Wagnerian pharmacy. There’s this one in Munich, near the Schloss Nymphenburg. I wouldn’t trust the healing powers of the Nibelungs:

Then there’s this one in Berlin, off Savignyplatz in Charlottenburg. I can’t remember Wotan healing anything either. Where is the Isolde Apotheke?:)

Back in Bayreuth. Is your ass bothering you due to those uncushioned seats?

The tourist office’s slogan is “We always have the best tickets!” (in white on green on the windows):

(*except for any for the one venue you really care about.)

While in town, don’t miss the other opera house, the spectacular 18th-century Markgräfliches Opernhaus.

Photography isn’t allowed inside, so here’s a stock image:

It may look familiar from the ROH production of Adriana Lecouvreur.

But it’s mostly a Wagner town, as evidenced by the street names.

I think my copy of the Parsifal libretto, which I got in Berlin, came with the perfect bookmark.

Finally, the Bayreuth Jugendherberge (youth hostel), where I stayed. I got my tickets kind of late and it was the only thing in town that was available. And it is very, very cheap. But it’s a 2.5 mile walk to the Festspielhaus, almost that far to the train station, and isn’t exactly warm and comfy. Only for the desperate.

In part two, we’ll climb the Green Hill itself.

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Looking for Wagner’s Nuremberg

I am behind on blogging! This is because I was very busy this week, and busy in Bayreuth at that, where I had trouble finding internet access. I have many notes and will be posting a lot in the next few days.

Wagner’s Die Meistersinger von Nürnberg is in part a historical fable, drawing on the life of the actual shoemaker poet Hans Sachs and his guild of Mastersingers in post-Reformation Nuremberg. But Wagner builds on, distorts, and later abetted in Nuremberg’s history in more complex ways, some of which can still be seen today. I tried to find what remains.

Die Meistersinger is set in the sixteenth century, but it’s a parable about Wagner’s own time, and he meddled with historical details to get the aesthetic argument to work right. Nuremberg was an apt setting for this project because in Wagner’s time the medieval center was so well-preserved that it looked basically the same as it did Hans Sachs’s day. Audiences of his day could picture the drama happening in the past and present simultaneously without a gap imposed by changing architecture.

Wagner added to Nuremberg’s mystique, and of course the city was central to Third Reich iconography (most famously as the setting for The Triumph of the Will) due to both Wagner and the same reasons Wagner chose it. The city is still well-preserved, but after the twentieth century, hardly in the condition it was in Wagner’s day.

The current Rathaus (city hall)

The church where Walther spots Eva is identified by Wagner as the Katharinenkirche, located near the center of town. It was founded in 1295 as a Dominican cloister. But it probably couldn’t have played the role it does in Wagner’s libretto, because it remained Catholic until 1596. I’m guessing that he chose it for a different reason: after the nuns were gone, it was the meeting place for the Meistersinger guild:

Note that the plaque says they met in the 17th and 18th centuries (in the barely visible dark letters)–after the period of Meistersinger.

The church was bombed in 1945 and only the roofless reconstructed walls remain. But it is still devoted to music, serving as an open-air venue for indie/hipster-tending concerts in the summer. It was a little hard for me to take pictures because of surrounding construction.

Not far away is this statue of Hans Sachs in his eponymous Platz. It also has a sinister history.

Wagner noted that he was going to donate to the construction of a statue of Hans Sachs (based on dates, presumably this one), but changed his mind when it turned out that it would be installed opposite a “sumptuous” synagogue. Needless to say, the synagogue isn’t there anymore. There’s not much to see in the Platz, to tell the truth. But you can park your car.

It’s still a picturesque town center, though.

Craftwork was still on display in the central market’s organic fair, and Wagner would definitely have appreciated the vegetarian food at least. The four-woman band playing Cee Lo Green covers, well, probably not. Probably not these folks, either, who I think were Argentinian. They set up in front of an ugly modern building and sounded quite good:

I’m guessing that in the grüne Wiese of Act 3 there’s now a Lidl or something. There’s a “Meistersingerhalle” on the outskirts of town as well, but it’s a modern venue.

But my favorite Meistersinger-related place is located not in Nürnberg but in Vienna, across the street from the Staatsoper’s standing room line (photo from their official website, because I couldn’t find mine):

Yes, it’s a shoe store.

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