Word: wieland
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Dates: during 1960-1969
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...would continue to be produced ex actly as he originally directed. Through the years, the composer's family followed his wishes, using the house for productions of Wagnerian operas that adhered slavishly - and sometimes stodgily - to the Master's wishes. After World War II, Grandsons Wolfgang and Wieland broke with tradition by mounting a series of unorthodox interpretations of Wagner's works. But since the imaginative Wieland's death in 1966, the Festspielhaus has lost much of its postwar luster...
This summer, in an attempt to recapture Wieland's spirit of adventure, Wolfgang relaxed the family's autocratic grip on Wagner's monument by allowing Director August Everding and Designer Josef Svoboda to stage The Flying Dutchman. Everding, 40, is the di rector of Munich's Kammerspiele, one of Europe's most highly regarded repertory theaters. Czechoslovak Svoboda, 49, is famed both for his mastery of lighting techniques (he was one of the leading figures of Prague's celebrated Laterna Magika) and for startling stage designs (TIME, July...
BAYREUTH (July 25-Aug. 28) offers a new production of The Flying Dutchman, conducted by Silvio Varviso, staged by August Everding and designed by Prague's Josef Svoboda; the late Wieland Wagner's staging of Parsifal, Tristan und Isolde and the Ring; Brother Wolfgang's production of Die Meistersinger...
Maypoles Again. Last year, in his first season, Wolfgang appeared to be harking back to the heavily literal stagings and overly oppressive nationalism that had prevailed before Wieland's day. Many observers, disturbed by what they took to be ominous portents for Wolfgang's-and Bayreuth's-artistic future, waited anxiously for his new production this year of Die Meistersinger. The work's chauvinism and its basis in medieval history had traditionally called forth productions that were awash with romanticist naturalism-gingerbread houses, magical forests and peasant maids. Wieland Wagner twice tried to replace all this...
ludging from the thunderous opening-night ovation, most of the audience agreed with the critic who hailed the return of the "real Richard Wagner" to Bayreuth. Others deplored the production. "It was," said one reviewer, "as if Wieland had never lived...