Hard at work on my top-secret summer project, I’ll rely on other Kulturbloggers for inspiration. Jens F. Laurson at ionarts writes a lovely appreciation of the late Carlos Kleiber, then reviews the new Deborah Voigt / Christian Thielemann Tristan recording in a way that relieves me of the duty, as I agree straight down the line. (I like the way Thielemann and Voigt handle the “false starts” to the Liebestod at the end of Act III — those scattered teasing bars in which Isolde seems ready to begin her final monologue, then comes to a halt when other action intrudes. She’s so lost in her private world that she keeps missing her metaphysical cue. The effect is heightened by the fact that the first phrase of the Liebestod is such an instantly recognizable musical object. What’s really dizzying is that Wagner knew his music would acquire this iconic status — otherwise the false starts would make no sense.) Also on ionarts, Charles T. Downey praises the Renée Fleming / Robert Carsen Capriccio in Paris, which I wish I could have seen. Elsewhere in the musosphere, I’m enjoying Carl Wilson’s site Zoilus, particularly his heroic and principled stand against writing about Wilco.
I hit the road for Bayreuth tomorrow. If the right Verbindung can be found, I’ll post some candid shots of Wagnerland. Let the blogging of Bayreuth commence.
