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Der Ring des Nibelungen – Workshop 2 (Siegfried and Götterdämmerung)
Presenter: Peter Bassett
August 22, 2020

Our second Ring Workshop attracted a great attendance of thirty-four members plus three guests at the Queensland Multicultural Centre rooms. The current COVID-19 protocols and QMC regulations were scrupulously observed. Our president and workshop presenter, Dr Peter Bassett, mentioned that the Queensland Society was the only Wagner Society in Australia currently meeting ‘live’.

For these workshops, Peter had provided wonderful notes – thoroughly researched and composed in a style that is exciting to read. They will be a great source of information to keep alongside one’s recordings and DVDs of Wagner’s Ring Cycle. To illustrate points in his discussion, Peter played excerpts from Sir Georg Solti’s Decca recording of Der Ring Des Nibelungen made between 1958 and 1964.

Peter discussed with members how the Siegfried music in Acts 1 and 2 is so evocative of the feelings and emotions being experienced by the main character, who is in every sense a child of nature. The music, particularly the orchestral music, resounds with the echoes of the forest. Then, in Act 3, one hears a quite different type of composer. A twelve-year interlude occurred when Wagner stopped the Siegfried composition at the end of Act 2 and later resumed composing the Ring at the beginning of Act 3, after Tristan und Isolde and Die Meistersinger von Nürnberg.

The prelude to Act 3, and all that follows, displays Wagner’s very mature compositional abilities. He seamlessly interweaves many themes, often using just hints of the leitmotifs one has heard earlier. As Peter explained and illustrated, the music speaks to our subconscious. We can sense that things are going wrong.

It is in Act 3 that the Wanderer recognises the inevitable, and the need to carry it out. This powerful recognition of inevitability is reflected in the immolation scene in Götterdämmerung – Brünnhilde awakens to the only goal that matters – renunciation of the world of desire and delusion, and the annihilation of the will – graphically symbolised by her self-immolation.

The ending of the Ring is purely orchestral music; there is no singing. We recognise in what is pouring forth from the orchestra that Brünnhilde has set in motion events which, ultimately, will make possible a better world.

Members asked many questions and made comments during Peter’s discussion. We have been very engaged and interested in these workshops.

Thank you, Peter! I think all members would endorse that is has been a privilege to be able to discuss with you your meaningful and reflective observations on Wagner’s Ring Cycle.

Observations by Paul Caesar
Photography by Damjana Simončič and Graham Bruce




Der Ring des Nibelungen – Workshop 1 (Das Rheingold and Die Walküre)
Presenter: Peter Bassett
July 18, 2020

It was wonderful for our members to be able to resume gatherings after five months without a Wagner meeting. Thank you to our committee who arranged for us to observe the strict Covid-19 protocols.   

Our President Dr Peter Bassett gave us a fascinating, enjoyable and informative Ring Workshop. Peter opened his presentation with great humour, commenting on the Covid-19 predicament and then showing us an actual Golden Apple – if Freia’s apples could restore the gods in the drama, perhaps they might also work in our present crisis!

The influences of the composers Bellini and Beethoven on Wagner’s music were illustrated. Peter played audio excerpts of several parts of Das Rheingold and Die Walküre which really highlighted and gave clarity to the observations he was sharing with us.

One main subject of Peter’s discussion was illustrating that a principal point of all the Wagner’s musical dramas is that life is all about love and compassion. The Ring is a love story, and when love and compassion are rejected by the players, things go very wrong. In the first act of Die Walküre love and compassion manifest themselves – Spring conquers the world and breaches Winter’s defences. 

The thematic development of Wotan was also discussed – if only he had really listened to Erda initially! Wagner creates Wotan’s character to be like us. Wotan realises that he should have done what Erda told him to do. As the drama develops, this character is not losing out but accepting reality – making things happen that need to happen. Wotan becomes a vehicle for change.

As for Brünnhilde, Peter illustrated how she is another aspect of Wotan’s character. She completes what really, in his heart, he wanted to do. She is more Wotan than he is.

Thank you, Peter! Your discussion gave members a focus on the creation of Wagner’s Ring drama and its inner workings. I’m looking forward to Ring Workshop 2 (Siegfried and Götterdämmerung).

Observations by Paul Caesar
Photography by Stephanie Hinrichs


Wagnerian Heldentenors
Presenter: Professor Colin Mackerras AO
February 22nd, 2020

In his presentation on the Wagnerian Heldentenor (‘heroic tenor’), Professor Colin Mackerras brought to bear his knowledge and interest as a long- time Wagner enthusiast.

Initially, Colin examined the nature of the Heldentenor, a voice characterised by richness, strength and staying power, being the equivalent of the tenore dramatico. The Heldentenor repertoire is almost exclusively the preserve of the Wagnerian opera. In the widest sense, the main tenor roles in all Wagner’s operas, excluding very early works, could be regarded as Heldentenor. But the roles of Siegfried and Tristan are the prime instances, with other roles such as Parsifal and Walter von Stolzing clearly within the category. Colin concluded the introductory part of his talk with a brief look at the early history of the Heldentenor, focussing on the singer who created the role of Tristan, Ludwig Schnorr von Carolsfeld, who was much admired by Wagner.

The main part of the presentation considered three major Heldentenors, these being Max Lorenz (1901-75), Lauritz Melchior (1890-1973) and Wolfgang Windgassen (1914-74).

Less known in the Anglophone world than he should be, Lorenz was the prominent Heldentenor in German and Austrian opera houses during the 1920s, 30s and 40s. A very expressive singer with a ringing voice, he enjoyed the favour of Hitler despite being a homosexual and his wife being Jewish.

Two musical excerpts demonstrated the beauty and expressiveness of Lorenz’s voice: Lohengrin – ‘Mein lieber Schwan!’, and Die Meistersinger von Nürnberg – Walther’s ‘Prize Song’.

Generally regarded as the quintessential Heldentenor, the Danish – American Melchior enjoyed a worldwide career over three decades. He was particularly associated with the Met, having sung 519 performances of Wagner there between 1926 and 1950. His singing is characterised by a seemingly effortless and steady delivery of much power. For Colin, he is the greatest of all recorded Heldentenors.

From Melchior’s many recordings, Colin chose the following excerpts illustrating the versatility of the voice: Die Walküre Act I – ‘Siegmund heiss’ ich’; Tristan und Isolde Act III – The death of Tristan, and Siegfried Act II – the ‘Forest Murmurs’.

Windgassen is well known as the pre-eminent Heldentenor of the 1950s and 60s, having sung 159 times on the Bayreuth stage between 1951 and 1966. His voice, while not as powerful as Melchior’s, had a beauty which was employed with artistry and refinement. His recordings in the late mono and stereo eras include Siegfried in the iconic Decca Ring conducted by Georg Solti.

Windgassen’s artistry was illustrated by two musical excerpts: Götterdämmerung – Siegfried’s Death, and Parsifal Act III – ‘Nur eine Waffe taugt’.

Colin’s presentation was much appreciated for its informative content and the enthusiasm of his delivery. Members of the society look forward to some fine contemporary Heldentenor singing in the upcoming 2020 Brisbane productions of Tristan und Isolde and the Ring.

Thirty two people were in attendance, including three new members and three guests. Many thanks to members who contributed towards the afternoon tea, and to the members of our ‘Nibelung Bureau’ catering group who coordinated and managed it.

Review: Geoff and Annette Fisher
Photos: Stephanie Hinrichs



Screening of part of Götterdämmerung from the Valencia Ring.
Presenter: Dr. Peter Bassett
January 18th 2020

President Peter Bassett ushered in the ‘Year of the Ring’ in Brisbane by presenting a screening of Götterdämmerung’s Prologue and Act One (up to ‘Hagen’s watch’) from the production created for the Palau de les Arts Reine Sofia, Valencia. The DVD recording dates from 2008.

This production, staged by the innovative company La Fura dels Baus under the direction of Carlus Padrissa, relies on stunning video projections on giant screens to largely replace traditional sets. As Peter observed, it provides a foretaste of what might be expected with the November 2020 Brisbane Ring.

The Prologue to the opera finds the three Norns passing their golden rope of world knowledge from one to the other against largely monochrome projections which invoke the gloom of the scene and complement the exchange of dialogue. The Norns appear cocooned and sometimes suspended in mid-air, surrounded by ropes and cords.

Then follows a striking video of the fire surrounding Brünnhilde’s rock. Brünnhilde and Siegfried rapturously proclaim their love for one another in a scene visually compromised by Brünnhilde’s unflattering costume. Siegfried then sets out on his adventures. The orchestral interlude known as Siegfried’s Journey to the Rhine accompanies the hero as he sails down the river in a stylised metal boat, the river being shown as polluted by plastic bottles and other detritus. It seems that the degraded state of the Rhine suggests the nature of the ‘civilisation’ our naïve hero is soon to encounter. The pitching of the boat on the water is surprisingly effective in following the movement of the music.

When Siegfried arrives at the hall of the Gibichungs at the start of Act One, he enters a world of vicious materialism and rapacious greed. Gunther and Hagen appear as suited stockbrokers backed by screens projecting an ever changing jumble of numbers, monetary symbols and stock exchange quotations. Bizarrely, these Gibichungs have shaved, painted heads tattooed with symbols of the Euro and the Yen and various oriental patterns. Whether their appearance is menacing or risible is a matter of opinion. Reminiscent of the Chéreau Ring, Siegfried is relieved of his primitive garb and provided with the smart grey suit of a stockbroker. His transformation anticipates his imminent betrayal of Brünnhilde brought on by the potion of forgetfulness given to him by Gutrune, who is power-dressed in red and black. Siegfried and Gunther head off in the little metal boat to abduct Brünnhilde, while Hagen broods on events.

This report has concentrated on the visual aspects of the production which are of much current interest for subscribers to the forthcoming Brisbane Ring.  But it must be noted that under the reliable conducting of Zubin Mehta the Orquestra de la Comunitat Valenciana plays the score with beauty and commitment. The singing heard in the excerpt screened is overall of a high standard but lacks the last degree of memorability.

Over thirty members were in attendance and viewed the screening closely; there followed  lively discussion at afternoon tea. Many thanks for the afternoon tea organised by members of the ‘Nibelung bureau’.

Review: Geoff and Annette Fisher
Photos: Stephanie Hinrichs



Christmas Lunch, Hillstone St Lucia Golf Club

Members, their families and friends enjoyed Christmas Lunch at the Hillstone St Lucia Golf Club on Saturday 14th December. This was the second occasion on which we had chosen ‘Hillstone’ for our Christmas festivities and, once again, it proved a delightful setting with delicious food and very friendly and obliging staff. A good time was had by all. Warmest thanks to our Secretary, Sheena Burnell, for arranging this most enjoyable celebration.

A very Happy Christmas to everyone, and good wishes for the exciting year ahead!

Peter Bassett

Photos by Stephanie Hinrichs and Damjana Simončič




20th Annual General Meeting and screening of Lohengrin.


Photographs: Stephanie Hinrichs

Observations on the 2019 Bayreuth Festival 
Panel: Colin Mackerras, Judy Xavier, Sheena Burnell, Peter Bassett 
October 26th 2019

Four of our members who attended the 2019 Bayreuth Festival shared their observations on the following productions:

Colin Mackerras (Tannhäuser, conducted by Christian Thielemann and directed by Tobias Kratzer)

Judy Xavier (Die Meistersinger von Nürnberg, conducted by Philippe Jordan and directed by Barrie Kosky)

Sheena Burnell (Parsifal, conducted by Semyon Bychkov and directed by Eric Laufenberg)

Peter Bassett (Tristan und Isolde, conducted by Christian Thielemann and directed by Katharina Wagner)

Audience members contributed their reactions to the video clips of each production and to the presenters’ observations.

Wolfgang Wagner, who was Festival Director together with his brother Wieland from 1951 until 1966 and from then as sole Director until 2008, encouraged a wide range of production styles. The result was that the Bayreuth Festival achieved unprecedented success and prestige among the world’s opera festivals. His daughter and successor Katharina Wagner (b. 1978), on the other hand, appears to be inflexibly wedded to the concept of Regietheater (Director’s Theatre) – a largely post World War II German phenomenon motivated, in part, by a perceived need to sever connections with the past.

Regietheater allows a director freedom to change the creator’s original intentions in relation to, say, geographical location, chronological situation, casting and plot. Changes are often made to drive home blatant political points or draw modern parallels. Richard Wagner was clear that he did not want to make political and social parallels obvious. ‘I believe’ he wrote, ‘it was a true instinct that led me to guard against an excessive eagerness to make things too plain, for I have learned to feel that to make one’s intentions too obvious risks impairing a proper understanding of the work in question; in drama – as in any work of art – it is a question of making an impression not by parading one’s opinions but by setting forth what is instinctive.’ [Letter to August Rӧckel, 25/26 January 1854.]

The imposition of a narrow dramaturgical approach, as we observe it today, has had only one parallel in the history of the Festival – the period of Cosima Wagner’s (self-assumed) directorship following her husband’s death. Cosima rigidly applied what she believed to be the one and only approach to staging Richard Wagner’s works, and she would tolerate no other. Ultimately, this myopia proved stifling and it led to a decline in the Festival’s standing until it was rescued by Wieland and Wolfgang Wagner after 1951.

It is to be hoped that today’s Festival management will become more flexible in its approach to future productions and give effect to all the dimensions of Richard Wagner’s works, as the composer intended.

Review: Peter Bassett
Photographs: Stephanie Hinrichs



Parsifal Act 2 
Speaker: Dr Graham Bruce 
September 21st 2019

Parsifal Act 2 in the memorable production conducted by Daniel Barenboim and directed by Harry Kupfer at the Berlin Staatsoper Unter den Linden, drew a good turnout of members and guests to our meeting on 21 September. Dr Graham Bruce introduced the screening and noted that although the performance had been recorded in 1992, it wasn’t until 2012 that the recording was issued on DVD.

Waltraud Meier was at her very finest as Kundy, the extraordinary character of many parts (and lives) who dominates this act. Danish tenor Poul Elming was the ‘innocent fool’ Parsifal (subsequently to be seen in Australia as our first Parsifal on stage in Adelaide in 2001), with Günter von Kannen as Klingsor. The Flower Maidens sang ‘off stage’ and were represented by frequently changing images on numerous television screens – a curious directorial idea that some liked and others found puzzling.

Generally though, it was agreed that the production as a whole was stunning, the orchestral playing superb and, especially, the principal singers most convincing. The time went all too quickly, and it is hoped that there will be an opportunity in future to see the other acts.

Sincere thanks to Susan Treloar, Aija Wilson and Jenny Krassnig for managing the afternoon tea, and to all who brought contributions for it, and to Kerry Ward for attending at the door.

Review: Peter Bassett
Photographs: Stephanie Hinrichs



WSQ 20th Anniversary Celebration and Die Feen presentation 
Speaker: Dr Graham Bruce
August 17th 2019

A very special meeting on Saturday 17th August 2019 – a celebration of the 20th anniversary of the founding of the Wagner Society in Queensland. The Society was founded on 17th August 1999, and three of the original founding members attended: Kathy Clifford, Jennette Johnstone and Hal Davis. Each was presented with a commemorative gift by our President. Reminiscences of the Society’s birth by all three of these founding members can be read on the ‘News’ page of this website.

An additional cause for celebration was the award to Kathy Clifford of Life Membership of the Society.

Afternoon tea was suitably celebratory, with sparkling wine and an anniversary cake. Warmest thanks to Sheena Burnell for providing the splendid cake and to Susan Treloar who co-ordinated afternoon tea. 

Prior to the celebration, members listened to a presentation by Dr Graham Bruce on Wagner’s early opera ‘Die Feen’. This was Wagner’s first completed opera, composed when he was just 20 years old. At the time of its composition, Wagner was chorus master at the Wurzburg Theatre. The opera was never staged during Wagner’s lifetime, and it was first performed in 1888 in Munich, five years after his death, with the active involvement of a young Richard Strauss.

Graham’s presentation was very revealing and interesting. We heard some beautiful arias and choruses from a 1984 live recording of a Munich concert performance of ‘Die Feen’ conducted by Wolfgang Sawallisch, followed by a ‘trailer’ for a more recent stage production in Leipzig. These showed the maturity and sophistication of the young Wagner. Opera companies are inclined to take the view that the opera is difficult to stage (fairy tale storyline and too frequent scene changes), hence it is rarely performed.

The score reveals some strong influences on the young Wagner, notably the music of Carl Maria von Weber and Ludwig van Beethoven’s opera ‘Fidelio’. Interestingly, as explained by Graham, ‘Die Feen’ exercised an early influence on Richard Strauss.

Thank you, Graham for giving members a great introduction to this fascinating and quite beautiful opera by a very young Richard Wagner.

On a lighter note, members are no doubt preparing for and excited about the forthcoming ‘Brisbane Ring’. Well here is something to consider for your wardrobe for the opening night of ‘Die Walküre’ … as recently seen in a store window in Via del Corso, Rome.

Review: Paul Caesar
Photographs: Stephanie Hinrichs 




Die Walküre Act I
July 13th 2019

The meeting began with the launch of our fund-raising campaign, co-ordinated by our Secretary Dr Sheena Burnell, for the Society’s contribution to the staging of Opera Australia’s Brisbane Ring and Opera Queensland’s Tristan und Isolde in 2020.

The Society’s sponsorship commitments are $15,000 as an “Artisan Patron” of Opera Australia’s 2020 Wagner Syndicate (the highest option would have been $30,000, which at least one other Australian Wagner Society has pledged) and $10,000 for Tristan und Isolde. These sponsorships have already given our members access to advance ticket sales for the Ring and they will open the way for similar benefits in respect of Tristan und Isolde (expected go on sale in August) and for invitations to exclusive events associated with both productions.

Fund-raising activities are being launched to meet our sponsorship targets, building on funds already to hand. The committee is asking for generous donations from members, and a ‘Rheingold Box’ will be available at all future meetings to enable members to make smaller donations. All donations, of whatever size, will be greatly appreciated and will help us to meet one of the Society’s main objectives: ‘To promote the public awareness of the works of Richard Wagner’. Tax deductible receipts are available for donations if requested. Details of fund-raising events will be announced to members via emails and on the ‘Wagner in Brisbane’ page of our website:

Members enthusiastically supported the committee’s proposed fund-raising campaign.

We then watched Die Walküre Act I and part of Act II, a La Scala production, introduced by our Vice-President Dr Graham Bruce. It was a wonderful production with singers “as good as it gets”. Interestingly, some of the singers in the recording we watched will be performing in Brisbane next year. The La Scala production featured:

Conductor                Daniel Barenboim
Sieglinde                   Waltraud Meier
Siegmund                  Simon O’Neill – who will sing Tristan in Brisbane
Hunding                    John Tomlinson
Wotan                       Vitalij Kowaljow – who will sing Wotan in Brisbane
Brünnhilde                Nina Stemme
Fricka                         Ekaterina Gubanova

It is expected that more of this exciting production will be shown next year.

Warmest thanks to Susan Treloar, Aija Wilson and Peter Jansen who co-ordinated afternoon tea, and to Kerry Ward who was on duty at the door.

Review: Paul Caesar
Photographs:  Stephanie Hinrichs


Rienzi, The Last of the Tribunes of 1842
June 22nd 2019

Richard Wagner’s first great operatic success: Rienzi, The Last of the Tribunes of 1842. Viewing excerpts from some recent productions:

Photographs: Stephanie Hinrichs




Richard Wagner’s Birthday Celebration and screening of Weber’s Der Freischütz
May 25th 2019

We celebrated the 206th anniversary of the birth of Wilhelm Richard Wagner (born Leipzig, 22nd May 1813) at the Queensland Multicultural Centre with a screening of a 1968 classic production by the Hamburg State Opera of Der Freischütz by Carl Maria von Weber. This was a superbly sung and traditionally staged production, created especially for television by Rolf Liebermann. The conductor was Leopold Ludwig and the Hamburg Philharmonic State Orchestra was in splendid form. Interestingly, thirty-seven years later, Australian conductor Simone Young would become the chief executive of the Hamburg State Opera and chief conductor of the Hamburg Philharmonic. The singing in the screened performance was especially fine – standouts being Ernst Kozub as Max, Gottlob Frick as Caspar, Arlene Saunders as Agathe, Edith Mathis as Ännchen, Tom Krause as Prince Ottokar and Hans Sotin as the Hermit. In a work that attaches much importance to the chorus, the hunters, local people and bridesmaids were also superb.

Der Freischütz (1821) was a most appropriate work with which to mark Wagner’s birthday because of his deep attachment to it from the age of nine. Weber was a regular visitor to the Wagner household in Leipzig and (according to Mein Leben) he expressed an interest in the small boy’s future. Der Freischütz influenced several of Wagner’s early works, notably Die Feen and Der fliegende Holländer, and echoes of it can be heard in the second Act of Siegfried when the ominous atmosphere of the forest by night recalls the spooky scene in the Wolf’s Glen. Wagner remained devoted to the memory of Weber and arranged for his remains to be returned to Leipzig from London in 1844. He composed funeral music and a chorus to be performed at the graveside where he also delivered an oration.

Warmest thanks to Susan Treloar and Carol Bassett for managing the celebratory afternoon tea and drinks, Theo and Lyn Baer who always bring and then take home for washing-up the many china mugs, Sheena Burnell who supplied the sparkling wine, and the many members who contributed delicious food. Thanks too to Kerry Ward for managing the arrivals desk with her usual flair and warmth. It was a delight to welcome Aija Wilson to the ranks of our ‘Nibelung’ helpers. Additional helpers are always in demand, so if you can lend a hand, please let Susan Treloar know on

Review: Peter Bassett
Photographs: Graham Bruce and Carol Bassett 


Study Day: ‘The Evolution of Wagner’s Hans Sachs’
13 April 2019
Speakers: Dr. Peter Bassett and Professor Stephen Emmerson

There was a real Hans Sachs. Born 1494 in Nuremberg, he received a good education and, at the age of fifteen took up an apprenticeship as a shoemaker. For a time as a young man he was a journeyman travelling with companions and working his craft in many important towns in the German States. Whilst on these travels he also devoted himself to the cultivation of the fine arts. In 1516 Hans Sachs settled in Nuremberg and stayed there for the rest of his life. He was a Meistersinger, wrote plays, poetry and songs – over 6000 pieces of various kinds are attributed to this Hans Sachs. He married twice, had no surviving offspring and died in 1576.

Our Society President Dr Peter Bassett gave the morning session and discussed how Richard Wagner’s concept of an opera on Hans Sachs evolved from his initial draft of 1845 to the finished Munich staging in 1868. Wagner was familiar with the life and works of the real Hans Sachs and several early 19th century dramatic works about him – a play by Deinhardstein and operas by Lortzing and Gyrowetz – and a late 18th century poem by Goethe which did much to reawaken interest in Sachs after decades of neglect. Peter developed the theme of what Wagner’s character Hans Sachs is really saying in the opera. Wagner’s Die Meistersinger von Nürnberg is an opera about German art not politics, originally conceived as a satirical play renouncing the idea that rules are more important than inspiration and talent. Sachs is the Schopenhauerian hero who gives us a lesson on the importance of true art and exposes the old pedantry of the town’s “burghers”.

Members enjoyed a wonderful light lunch. A big thank you to our secretary Sheena Burnell for organizing this.

Society member Professor Stephen Emmerson gave the afternoon session focusing on Wagner’s musical depiction of the wise and compassionate cobbler-poet. Stephen noted that words are very important in this opera; they express the tensions and conflicts of the drama. He then demonstrated how Wagner expresses the character of Sachs – his soul, his point of view, his sadness and his resolution – through the orchestration. It is from the music, not necessarily always from the words, that we learn what is in the mind of Hans Sachs.  

It was a revealing day and no doubt many members will be playing their recordings of Die Meistersinger von Nürnberg soon.

Review by Paul Caesar
Photographs by Hal Davis



Wagner Society Queensland Members at Bayreuth and Covent Garden 
16 March 2019
Panel: Chair Dr Graham Bruce with Robert Sanderson, Jim Spence, Geoff Fisher and Paul Caesar.

A very interesting meeting. Many thanks to the ingenuity of Dr Graham Bruce for facilitating the two discussions.

The first discussion followed a screening of the end sequence of Tristan und Isolde from the 2018 Bayreuther Festspiele.  The director – Katharina Wagner – had Kӧnig Marke forcefully leading Isolde off stage and away from the dead Tristan. Isolde has just sung the Liebestod and this director’s alteration to the composer’s specific directions and intent of his text was strange and controversial. Our member Robert Sanderson had attended this production and provided a fascinating commentary on aspects of it. He had been shocked to see the director’s handling of the final scene. An interesting comment from one member (whilst not agreeing with Katharina Wagner’s alteration) was to see some logical licence in that Kӧnig Marke, to ensure the success of his strategy aimed at securing peace between Ireland and Cornwall, leads Isolde away to enforce their marriage. 

We enjoyed an afternoon tea break arranged by members of our ‘Nibelung Bureau’, Susan Treloar and Patricia Jackson.

A panel discussion (Jim Spence, Geoff Fisher and Paul Caesar) followed on the London Ring. Some of the observations made by panel members were:

  • The lead singers and orchestral playing (Sir Antonio Pappano conductor) were very good;
  • There were gasps in the audience at the magnificence, power and colour of Stuart Skelton’s voice as Siegmund; Nina Stemme – Brünnhilde – was a joy and privilege to hear;
  • The production by Keith Warner suffered a little with too much visual symbolism, and at times it was over-stylized;
  • Connecting details in the production satisfactorily tied the four operas together – the ring image displayed in several forms; the red rope of the Norns shown somewhere in all acts; meaningful allusions to the sky, sometimes beautiful and other times threatening; 
  • Overall agreement that it was a first-rate performance and production.

Review by Paul Caesar
Photographs by Stephanie Hinrichs



Barrie Kosky’s production of DIE MEISTERSINGER at Bayreuth
16 February 2019
Panel:  Professor Colin Mackerras, with Margaret Baker-Genovesi, Peter Basset and Martin Kriewaldt

Over thirty Society members attended this lively, interesting meeting. DVD excerpts of Kosky’s production, which premiered at Bayreuth in 2017, were shown followed by a panel discussion. The panel was chaired by Professor Colin Mackerras, with Margaret Baker-Genovesi, Peter Basset and Martin Kriewaldt.

A review of the afternoon’s discussion may be best given by mentioning some of the observations made by panel members and other attendees:

  • This production was heavily politicised to the point of distorting both text and music;
  • It was interesting to open the opera with a stage set in the drawing room of Villa Wahnfried with the characters of Wagner, Cosima, Liszt and others of the household. They then morphed into Hans Sachs, Eva, Beckmesser etc;
  • What mattered to most was Wagner’s music, and enjoyment of this was distorted and distracted by Kosky’s direction and interpretation.
  • The antisemitic references, thought to be overplayed by Kosky, have no basis in the text, and doubts were expressed about the justification of attributing aspects of twentieth century history to Wagner.
  • Taking the proposition that Wagner wrote the text and composed the music of Die Meistersinger as a commentary on the treasures of German culture and artistic achievements – a defence of German art and history as opposed to the then aristocratic and foreign norms – what validity was there in Kosky’s production?
  • Kosky’s placement of children with grotesque facemasks at the end of act two was roundly criticised and thought to be abhorrent.

Kosky may see his theatrical significance as being the “enfant terrible” of opera interpretation; the panel and Society attendees perhaps wished that he may one day adopt a more mature approach.

Many thanks to Carol Bassett and Jenny Krassnig for providing afternoon tea.

Review by Paul Caesar
Photographs by Stephanie Hinrichs



Wagner’s Theatres 
January 19th 2019
Speaker: Dr Peter Bassett

This was a wonderful afternoon with over forty members in attendance, all of whom enjoyed a learned commentary on Wagner’s ideas of theatre design – and also enjoyed very humorous illustrations of the “winged-helmet” characters that became inextricably linked to Wagner’s operas, to the point that they often bore no relation to the plot or characters at all.

Dr Bassett discussed in detail how Wagner wanted his dramas to be performed in a theatre of the community – egalitarian and with the seating inspired by the amphitheatres of ancient Greece and Rome – as opposed to the traditional theatres of kings and queens with their “horseshoe” shape more suited to a social occasion than serious musical appreciation.

Wagner’s philosophical and aesthetic approach to theatre design culminated in the building of the Bayreuth Festspielhaus. The size and scale of this building was due in large part to the idolization of Wagner by King Ludwig II combined with the financial extravagance of that king, making this remarkable construction possible. In addition the innovative designs of Gottfried Semper also had influence on Wagner’s theatre ideas, reaching its apotheosis in the unique lines of the building which stands today.

The talk was very much appreciated by all who attended and after Peter’s very amusing illustration of the head-dresses worn in early Wagner productions, many Members were heard pondering aloud if perhaps it will become  “de rigueur” to arrive winged-helmeted at future society meetings!



Review: Paul Caesar
Photographs: Stephanie Hinrichs



Christmas Lunch 2018

On Saturday 15 December, thirty of our members and welcome guests enjoyed each other’s company at the Hillstone St Lucia Golf Club for our annual Christmas Lunch. A good time was had by all as we dined in the friendly atmosphere of the Golf Club’s ‘100 Acre Bar’ and relished the delicious food and drinks and excellent service. Sincere thanks to Sheena Burnell for her organisation and attention to detail which ensured a delightful day out.

Photographs: Damjana Simončič and Adrian Alle


Astrid Varnay – Wagnerian Soprano

24 November 2018
Speaker: Margaret Baker-Genovesi

Last month, in the presentation by Professor Stephen Emmerson, members received a “kiss” from Kundry. At the November meeting, members were fortunate to receive a kiss from the Wagnerian soprano Astrid Varnay. For many society members, Astrid Varnay’s name was familiar but her wonderful achievements were perhaps not well known. 

Margaret Baker-Genovesi revealed the life of Astrid Varnay to the large group of members who attended. She was a remarkable singer, born 25 April 1918 – in the same year as her great contemporary and another Wagnerian superstar, Birgit Nilsson.

Astrid Varnay came to immediate and sensational fame when, at short notice on 6 December 1941, she replaced Lotte Lehmann in the role of Sieglinde at the Metropolitan Opera – she was just 23 years of age. Then, six days later, she replaced the ailing Helen Traubel as Brünnhilde in the same opera.  

Astrid Varnay was born into an artistic family. Both her parents were Hungarian and professional singers, but she was born in Sweden where her parents were living during part of World War I. She received vocal lessons from her mother and then in New York from Hermann Weigert whom she later married. Vocally, she was a powerful dramatic soprano; European audiences considered her a goddess in her performance of Wagnerian and Verdian roles. She also had a formidable mezzo-soprano capability which she especially displayed in her favourite role as Ortrud. 

Margaret Baker-Genovesi presented several excerpts from recordings of Astrid Varnay. These began with a live broadcast of her 6 December 1941 performance of Die Walküre, Act 1, Scene 3, with Varnay as Sieglinde and Lauritz Melchior as Siegmund, and with Erich Leinsdorf conducting.

We also heard a wonderful performance of Varnay singing Verdi: as Lady Macbeth in Act II of Macbeth: “La luce langue”, with the Austrian Tonkünstler Orchestra conducted, interestingly, by her husband Hermann Weigert. 

As Astrid Varnay matured, she gave up her heavy dramatic soprano roles and began singing character mezzo roles; Klytämnestra, Herodias, Kostelnicka and others.

Astrid Varnay died in Munich, where she had lived for many years, on 4th September 2006.

Margaret referenced Astrid Varnay’s autobiography: “55 Years in Five Acts: My Life in Opera”. Boston, Northeastern University Press, 2000.

Another interesting autobiography is: ”La Nilsson: My Life in Opera”. Northeastern University Press, translated from Swedish, 2007.

Discussion followed on the nuanced power and beautiful singing of Astrid Varnay. Thank you, Margaret! It was a wonderful presentation and revealed a great Wagnerian singer to our members. Thank you too to Stephanie Hinrichs for her technical preparation and support in this splendid collaboration.

Thank you also to the ‘Nibelungs’ who provided afternoon tea.

Review: Paul Caesar
Photographs: Stephanie Hinrichs


Parsifal: Kundry’s Kiss – Four Interpretations
27 October 2018
Speaker: Professor Stephen Emmerson

A wonderful afternoon and presentation by Professor Stephen Emmerson. Nearly forty members attended – was everyone longing for a kiss from Kundry?

Four particular interpretations were discussed by Stephen:

First: Otto Schenk’s 1992 direction at Metropolitan Opera, James Levine conducting with Waltraud Meier as Kundry and Siegfried Jerusalem as Parsifal. This production and in particular the ‘kiss scene’ were faithful to Wagner’s instructions. Waltraud Meier a real seductress, showing ravishingly beautiful looks and dramatic multi-layered singing. Parsifal receiving the kiss experiences the suffering of both Kundry and Amfortas. He, the noble fool, experiences compassion and this is life-changing for him.

Second: A Nikolaus Lehnhoff 2004 direction. It is rather confusing: Kundry tries to seduce Parsifal; he violently rejects her, upon which Kundry emerges ‘free’ from her stylized chrysalis-like costume.

Third: Hans-Jurgen Syberberg’s 1982 film. This moved beyond realism and towards symbolism. A lip-sync acting, radical and controversial film. Stephen Emmerson was very enthusiastic about this production and many members agreed with him and were quite excited with the concept. Syderberg regarded Kundry as the centre of the opera – mother, seductress and penitent. It was an intense piece of performance.

Fourth: Francois Girard, director at Metropolitan Opera 2013, with Katarina Dalayman as Kundry and Jonas Kaufmann as Parsifal. Kundry is not to the forefront in this production. It is the effect of the kiss on Parsifal that is made paramount – it opens up the wound of Amfortas in Parsifal, literally – and that brings compassion to the noble fool. Just terrific singing by Kaufmann; he overshadows Dalayman.

It really was a stimulating club meeting and engaged members at the question time following Stephen’s presentation.

And let us not forget the afternoon tea provided by our members, during which the talk was mainly discussing Syderberg’s symbolism.

Review: Paul Caesar
Photographs: Stephanie Hinrichs



FRIEDRICH SCHORR, Wagnerian baritone (1888-1953)
15 September 2018
Speaker: Colin Mackerras

Colin Mackerras, who as well as being an eminent sinologist is also a passionate lover of Wagner, presented – lovingly indeed – the singer who in his opinion was the greatest ever bass-baritone of the Wagnerian repertoire: the Hungarian (later U.S. citizen) Friedrich Schorr.

Schorr was born in 1888, and his career thus centred largely on the 20’s and 30’s of the last century, both in Europe and in America – principally at the Met. Indeed, Schorr was the Wotan in a historic performance of Die Walküre broadcast live on the eve of the attack on Pearl Harbour, and the interpretation we heard of Wotan’s farewell was a perfect example of the singer’s approach to Wagner, with his smooth legato line (the opposite of what many years later would be defined as “park and bark”, which mistakenly became the hallmark of so many otherwise fine singers who sang this repertoire).

But I digress: Colin’s first excerpt was the only one that did not feature Wagner: it was the dramatic vengeance aria of the villain Pizarro in Beethoven’s Fidelio, sung by the then 34-year-old; there followed the great, moving monologue of the Dutchman, “Die Frist is um”. Then we heard the scene from Siegfried in which Wotan as Wanderer solves Mime’s riddles; this showed a very different aspect of Schorr’s style, and I also found the previously unknown to me Heinrich Tessmer as Mime very impressive.

But the height of Schorr’s art, according to Colin, was his interpretation of the role of Hans Sachs in Die Meistersinger von Nürnberg, and the two great monologues of this role, followed by the presentation (the baptism, as it were) of the Prize Song, and the marvellous quintet, were undoubtedly the most sublime moments of the afternoon.

Colin’s presentation was followed by an animated discussion, motivated by Schorr’s Jewish heritage and subsequent banishment from Bayreuth. Several of our members offered personal observations based on their recent journeys (I would almost say “pilgrimages”) to Bayreuth, and the afternoon ended far too soon for this member.

Thank you, Colin, for presenting a singer who was perhaps eclipsed by the fame of later singers, but whom we heard in wonderful moments thanks to your research and enthusiasm.

Review: Margaret Baker-Genovesi 


Wagner’s Choral Music and Opera Choruses
25 August 2018
Speaker: Graham Bruce

Our Vice President Graham Bruce presented a most interesting aspect of Wagner’s music, which concentrated on excerpts from his choral compositions both for concert and for opera.

Graham began with an early work, dating from 1833, Das Liebesmahl der Apostel, with an a cappella male chorus from Dresden, followed by the entry of the orchestra, which vividly depicted the descent of the Holy Ghost on the day of Pentecost. The work presented some, for me, unexpected harmonic modulations.

Graham reminded us that Wagner revered Carl Maria von Weber, and we heard a most beautiful aria from Weber’s Euryanthe, sung sublimely by Jessye Norman.

When Weber’s remains were transported from London, where he died, to be interred in Dresden, Wagner composed Trauermusik (funeral music, long and moving), on motifs from Euryanthe, to accompany the burial rites. After this, once again we heard a male chorus, this time from the Vienna Chamber Chorus, with Wagner’s An Webers Grab (At Weber’s Grave).

Before we broke for afternoon tea, Graham invited us to observe with a critical eye what was to follow ¬– three choruses from Wagner’s operas – from the point of view of the director’s and the conductor’s perspectives. This drew our attention to the placing of the chorus in relation to the solo singers, and the instructions clearly given to the chorus members as to how to react and participate in the on-going drama. We heard and watched excerpts from Götterdämmerung, Parsifal, and Der fliegende Holländer – respectively a filmed excerpt from the Chéreau Ring, a live performance from Bayreuth with the direction of Wolfgang Wagner, conducted by Giuseppe Sinopoli and, lastly, a very interesting version specifically devised for the cinema, with the mariners’ chorus and celebration (we even saw the ghost crew in a very frightening, close-up moment, something that would hardly have been possible on a live stage).

For me the highlight was the Act I, Scene 2, of Parsifal, with a magnificent and despairing Falk Struckmann as Amfortas, and a bemused Parsifal, motionless, trying in vain to understand what was happening. Graham underlined Wolfgang Wagner’s approach to a symmetrical setting, which was reinforced by the procession of the Knights of the Grail in this scene. It was a splendid afternoon, with much new information to reflect upon.

Review: Margaret Baker-Genovesi 
Photographs: Stephanie Hinrichs



Magic Fire 

28 July 2018

Magic Fire (1955)
Screening of the film on the life of Richard Wagner

This film, directed by William Dieterle, dates from 1955, and is based on the life and works of Richard Wagner. It mostly follows what we know of Wagner’s life, with a few episodes invented for the sake of greater dramatic effect – for instance, Wagner’s spending some time in a debtor’s prison – but on the whole it sticks to history.

Among the more authentic episodes featured was the Paris première of Tannhäuser, known to have been a disaster, the probable reason for which was his placement of the obligatory (for Paris) ballet in the first act, too early for the members of the wealthy and influential members of the Jockey Club to turn up to the theatre. This rowdy scene was staged with great dramatic effect, as was Wagner’s distress on cancelling all performances after the third night saw a similar debacle.

Wagner was played convincingly by Alan Badel, perhaps too handsome, and certainly much taller; Carlos Thompson had all the charisma we expect of Liszt. The women in Wagner’s life (Yvonne de Carlo as perhaps a too attractive Minna, Rita Gam as Cosima and Valentina Cortese as Mathilde Wesendonck) were all three impressive – I particularly liked the Italian actress, whose scenes with Wagner were of great effect. (As was the scene where Wagner’s arch-rival Giacomo Meyerbeer held court in his bed over breakfast.)

Throughout the excerpts from Wagner’s operas (traditionally and splendidly staged by Rudolf Hartmann, later General Manager of the Munich Opera) I found myself wondering who the singers were. The production had evidently aimed at excellence in this respect, since my investigation revealed that among the singers were Hans Hopf, Otto Edelmann, Leonie Rysanek, and – for me very moving – my very last singing teacher, Annelies Kupper, all famous stars of post-war Bayreuth. And it was interesting to see Erich Wolfgang Korngold (who was responsible for the musical accuracy) briefly in the role of the conductor Hans Richter.

I have no doubt that this film in its day will have contributed to reaching an audience that otherwise would never have heard, or perhaps even heard of, Wagner, thus rendering a great service to the dissemination of his works. And still in our day, with our further knowledge of subsequent events, it proved to be a really entertaining afternoon, and we are all very glad that Peter Bassett offered it for our enjoyment.

Review: Margaret Baker-Genovesi 
Photographs: Stephanie Hinrichs



Lohengrin Acts 1 and 2
23 June 2018
DVD recorded at Dresden’s Semperoper.

This was a great afternoon’s entertainment for members to see a recent performance of Lohengrin from Dresden.

The Conductor was Christian Thielemann; we saw why he is considered the foremost Wagnerian conductor today. The prelude was taken at a deliberate tempo – rather slow. The volume of the orchestra never competed with the singers. He created the sense that the voices literally rode above the instrumental music, clear and free. The singers did not have to force their voices, allowing them to sing softly when required. 

Lohengrin was sung by Piotr Beczala, making a role debut. We heard his bright, firm tones and he sang with warmth and confidence. This was a really good muscular and lilting performance.

Elsa was sung by Anna Netrebko, also making a role debut. Her lush, coloured voice was at home in the Wagner universe.   She played a mature Elsa, with a trajectory from helplessness to devout conviction and then to despair. It was a wonderful acting interpretation, something that is the essence of Netrebko. She sang with openness and unleashed waves of beautiful sounds and lingered – luxuriously – over her notes. This was a different style from some other Wagnerian sopranos in their Elsa roles that one may have seen, where a more virginal, clear sound is heard. 

Netrebko’s and Beczala’s appearances in their debut roles were widely anticipated events at the time of this production. They had already charmed the world with their onstage chemistry igniting Puccini and Tchaikovsky – seen by many members no doubt at Metropolitan Opera simulcasts.

Telramund was sung by Tomasz Konieczny.   Believe it or not, this was also a role debut. Full praise again to Christian Thielemann for bringing these debut dynamics to such success. Konieczny let loose with robust and exciting singing.

Ortrud was sung by Evelyn Herlitzius who was outstanding and perhaps the highlight of the recorded performance. She has striking stage presence; everything she did on stage was full of tension and drama and her singing was the perfect foil for both Konieczny and Netrebko. Herlitzius voice is not the most beautiful but it has character and is a powerful one that cut through the orchestra and forcefully expressed the character’s evil.

Heinrich was sung by Georg Zeppenfeld. His voice has great dignity and power.

The King’s Herald was sung by Derek Welton. He has a forceful, beautiful voice; he is a young Australian baritone who is making a big name for himself in German opera houses.

The production was a revival of Christine Mielitz’s 1983 traditional production.

Members experienced an unforgettable musical performance. The DVD was released in July 2017 on Deutsche Grammophon and is easily available on internet classical music sites.

Review: Paul Caesar
Photographs: Stephanie Hinrichs


Wagner and Liszt: The Anxiety of Influence
16 May 2018
Speaker: Ammiel Bushakevitz

The visiting international pianist and Wagner specialist Ammiel Bushakevitz was the Society’s guest on 16th May, and offered us an insight into the musical and personal relationship over long years between Wagner and Liszt, in a presentation entitled ‘Wagner and Liszt: The Anxiety of Influence’.
As we know, Liszt eventually became father-in-law to Wagner, but less than two years in age separated them; over the years, and well before Wagner’s marriage to Liszt’s daughter Cosima, Liszt was an enthusiastic and powerful sponsor of Wagner’s music.

Ammiel indeed gave us many examples of Liszt’s amazing generosity to fellow musicians, and not only to Wagner, throughout his life. He even revealed that Wagner once appealed, successfully, to Liszt to finance a holiday in Italy at Lago Maggiore, because he was ‘tired’.

Ammiel referred in some detail to what was to be known, in the 19th century, as Lisztomania, citing also Ken Russell’s film of 1975 (which I remember as interesting but grotesque) about the hysteria that surrounded the great pianist, including extraordinary manifestations such as the wearing, on a necklace, of Liszt’s discarded cigar. But he also spoke about Liszt’s decisive contribution to the evolution of the modern grand piano – very different at the end of his career from what he had found at the beginning.

A consummate pianist, Ammiel played us several examples of the links between Wagner and Liszt, one of which I found particularly touching: Liszt’s composition At the grave of Richard Wagner, which owed its inspiration, which he illustrated, to a theme from the opening of Parsifal.

As pianist rather than lecturer, he presented two major works by Liszt, both brilliantly performed – The Fountains of the Villa d’Este, and his transcription of Isolde’s Liebestod.

Our Vice-President Graham Bruce, who had introduced Ammiel and commented on his illustrious career, thanked him in our name, after which we all adjourned to celebrate (albeit a few days ahead of time) Wagner’s 205th birthday – our thanks go to Sheena and her team for the catering! And thanks also to Jennette for the excellent printed program that was distributed at this event.

It was good to see that so many of our members were present, and we thank Professor Scott Harrison for the hospitality of the boardroom of the Conservatorium.

Our good wishes will follow Ammiel Bushakevitz as he continues his Performing/Lecturing tour in the Southern Hemisphere.

Review: Margaret Baker-Genovesi 
Photographs: Stephanie Hinrichs

Wagner at the Venusberg
28 April 2018
Speaker: Peter Bassett

Our President Peter Bassett gave a stimulating and interesting presentation on the background influences experienced by Richard Wagner and how he assembled his thoughts to compose Tannhäuser.

Peter showed some great pictorial and musical illustrations of these influences. A 1978 Bayreuther Festspiele production of Tannhäuser – conductor Sir Colin Davis and director Götz Friedrich – formed the major sequence of illustration. The singing in this production is just ravishing – an adjective that Tannhäuser would enjoy.

Spas Wenkoff was in the title role of Tannhäuser  –  wonderful casting with the good looks of a Tannhäuser and a superb heldentenor. Gwyneth Jones performed both Venus (in this role quite lasciviously) and Elisabeth (here as the redeeming angel). Her voice and acting was just wonderful to watch. Bernd Weikl was Wolfram von Eschenbach, a beautiful baritone voice.

Interesting questions were asked of Peter at the end of the discussion, such as ‘Was Wagner being religious or dramatic?’ Opinions on the set designs were expressed.

Afternoon tea followed and much thanks again to members who brought the sandwiches and other items for us to enjoy.

Review: Paul Caesar
Photographs: Hal Davis


Study Day: Wagner in Italy – Its influence on Wagner, and his influence on its composers.
24 March 2018
Speakers: Graham Bruce and Peter Bassett.

Our Study Day on Wagner in Italy reflected the fact that although Richard Wagner is usually regarded as the archetypal champion of German music, he had a life-long love affair with Italy and its musical traditions.

When composing his earliest operas, he was inspired again and again by the Italian sense of melody: ‘Song, song and yet again song, you Germans!’ he implored his countrymen. He visited Italy on many occasions, taking refuge from the dark clouds of the north in the sunny climes of Naples, Venice and Sicily and in many places in between. He even considered migrating there.

Graham Bruce examined Wagner’s visits and compositions with Italian connections up until about 1861, and Peter Bassett continued the story until the composer’s death in Venice in February 1883 and his influence on Italian composers who were his contemporaries and followers. 

Over thirty members enjoyed learning about this beautiful and fascinating part of the Wagnerian story.
Sincere thanks to Graham Bruce and Peter Bassett for their well-researched, illustrated presentations. 
Photographs: Stephanie Hinrichs









Die Meistersinger, Act 3 screening
24 February 2018

This meeting featured the 1984 Bayreuth production of Die Meistersingervon Nürnberg directed (including set design) by the composer’s grandson Wolfgang Wagner – from the horse’s mouth, so to speak.

Our President Peter Bassett initially welcomed new members, and then reminded us of all of the various aspects of the Society, with its website showing events, reviews, links to fellow societies, etc.

Peter also illustrated the concept of the Mastersong (which, in fact, Hans Sachs explains in detail to the somewhat bemused Stolzing), and alerted us to the idea that the whole opera is conceived along the lines of the Mastersong, with the first two acts of equal length followed by the third act whose length is equal to the other two combined. This was new to me and I found it extremely interesting.

The DVD viewing began from the third act entrance of Walther von Stolzing (a splendid and convincing Siegfried Jerusalem) in the workshop of the Meister cobbler-poet Hans Sachs (an exemplary Bernd Weikl), and took us through, with no interval, to the end of the opera – a long but memorable performance. Speaking as someone who is heartily sick of today’s Regietheater travesties (witness the appalling Don Carlos from Paris recently), I was delighted to see a set that really looked like a neat, sunlit German workshop, followed by genuine, crowded merry-making on the Festival Meadow.

The attention of our large audience was captured from the first minute. Amusingly, a goblin-like figure in modern dress appeared for a split-second on stage at the end, and proved to be Wolfgang Wagner.

The viewing lasted to about the time we had available for the use of the theatre, so the usual post-performance discussions were curtailed, but over afternoon tea (thanks to the Nibelungs Susan Treloar, Carol Bassett and Peter Jansen) we discussed our various impressions. It seemed to be the general opinion that the men – Weikl, Jerusalem, Prey (Beckmesser) and Clark (David) were excellent, whilst the Eva (Mari Anne Häggander) was mostly found to be of a very different level. A pity, since the whole production should surely have passed into history as the most authentic ever, given the horse’s mouth factor. If I may express my own preference, I found that Bernd Weikl was a peer among all the other magnificent interpreters of Hans Sachs, with not a flaw in his portrayal of this immense role. Sachs’s famous defence of German culture and its poetry and music was declaimed by Weikl from the heart with total conviction – I found it spine-tingling.

We are all looking forward to the next Study Day on 24th March, which will take us to Wagner in Italy. Not to be missed.

Review: Margaret Baker-Genovesi 
Photographs: Hal Davis 
























A Wagnerian Antiques Roadshow Afternoon with contributions from six members of the Society
Saturday, 20 January 2018 

Margaret Baker-Genovesi

Margaret gave us a most interesting story of two concert performances of the Ring Cycle she enjoyed in Rome in 1968 and later in 1988. They were concerts performed in the Auditorio della RAI and broadcast over the Italian radio. Margaret was fortunate to be in the audience for both these performances. 

The orchestra playing for the 1968 concerts was the Rome Orchestra conducted by Wolfgang Sawallisch. Some of the 1968 cast were Nadezda Kniplova – Brünnhilde, Janis Martin – Fricka, Hildegard Hillebrecht – Sieglinde,  Eberhard Katz –Siegmund  and Theo Adam – Wotan. (Interestingly this performance is available on a Myto CD set.)

The 1988 concerts were so popular that some women were dressing in black dresses and men in tails, borrowing violin cases and ‘sneaking in’ through the orchestra players’ entrance.  Wagner makes one take extreme steps! Margaret has great memories of these concerts because they introduced her to the music of Wagner – still aflame today.

Graham Bruce

Graham recalled his great experience of attending the second year’s production of the Chereau ‘Centenary Ring’ in 1977. His intriguing tale – and much luck – of how he obtained tickets was a story by itself.   Graham saw director Chereau’s own considerable acting skills in this year. Rene Kollo (Siegfried) broke his leg and was obliged to sing his part from the wings and sometimes secreted in the folds of the sets. The director – Chereau – acted the role on stage.

The other interesting observation Graham highlighted is how productions at Bayreuth respond and evolve to criticisms made regarding sets and direction. Amongst the singers Graham saw that year were Rene Kollo, Gweneth Jones (Brünnhilde) and Siegfried Jerusalem (Siegmund).


Theo Baer

A very personal recollection was given by Theo. He was a young boy living with his family in Bayreuth in the immediate post-war years. Theo told members of the adversity of living and going to school amongst the ruins of the city and his family’s hardships. Theo’s delightful positive character and sense of humour engaged members. Imagine a boy’s Lederhosen (shorts made of leather) that in the bitter cold become stiff and can stand upright on the floor!

Theo remembered the revival of the Festival post-war and how, with some young friends, they would sit roadside near the “green hill” and watch dignitaries arrive. 

Jennette Johnstone

Jennette read an extract from a quite remarkable, lengthy and very emotional obituary from The New York Times, 14 February 1883, entitled DEATH OF RICHARD WAGNER. (Wagner died on 13 February 1883.) The opening sentence was, ‘Without a word of preliminary warning the announcement was telegraphed all over the world last night of the sudden death, in Venice, of Richard Wagner’.

There was also an obituary in the ‘Brisbane Courier’, Friday 16 February 1883. News travelled fast even then and perhaps Brisbane was more sophisticated at the time than one imagines!    See Trove Digitised Newspapers: DEATH OF RICHARD WAGNER.




Colin Mackerras

With great conviction and personal feeling Colin explained why he considers the first act of Die Walküre one of the most perfectly constructed of Wagner’s music scores. Wagner is now dealing with real humans – the Gods of Das Rheingold are out of the picture; elemental love was composed; and there is sublime tenderness between the twins that reaches a very human climax. It is very intimate music, including one-on-one conversations; the score has both beauty and delicacy.

Cosima wrote, with similar feelings, “The most emotional, the most tragic of all his works”. Colin showed members his considerably old (and tattered, verifying its frequent use) piano score of Act One. He described his recollections of reading this score with his brothers whilst listening to the opera on vinyl records and on the radio.

Colin sincerely conveyed to members his passion for this particular section of the Ring.

Peter Bassett

Peter displayed an antique book of illustrations of Die Meistersinger von Nürnberg, full of beautiful woodblock designs and Gothic script.

Peter also played some remarkable antique recordings which included the voices of Johannes Brahms in 1889, Lilli Lehmann and Siegfried Wagner conducting Siegfried Idyll, 1927.

 Members were given a handout explaining these six recordings which also included a Mandolin Cylinder Musical Box of 1880.


All in all, the afternoon was just wonderful.
Review – Paul Caesar
Photographs – Stephanie Hinrichs