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  Orchestra of German Opera: When Bruckner sings – Culture | Bit Updates
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Orchestra of German Opera: When Bruckner sings – Culture

Wednesday, January 31st, 2018 | bitcoin updates

Anton Bruckner's Third Symphony is dedicated to Richard Wagner. In deep veneration, poor Bruckner had traveled to Bayreuth to humbly request the acceptance of the dedication by the master of Bayreuth. The anecdotes surrounding this journey only confirm what Bruckner felt for Wagner. That's what his music does. The orchestra of the Deutsche Oper Berlin ventures into the seventh Bruckners, and the cymbal drumming in the Adagio with the following coda, under the direction of Donald Runnicles, becomes the dramatic-emotional summit of the evening. "Wagner made me who I am," Donald Runnicles has formulated in the Tagesspiegel interview. How he is now heading for the gigantic musical climax of the Bruckner score, semper fff, already contains the premonition of the certainty of Wagner's death. So it says the interpretation. Bruckner is said to have received the message in his composition of the sentence. And quietly the song of swans fades away "in memory of the arrogant, beloved, immortal masters". The Wagner tubes crescendieren, the horns go in there, until the violins take over "quite vocally" the lead. Verse Wolfgang Korngold Gesungvoll is the cue for the whole interpretation. Runnicles, the Wagner conductor, plays his especially vocal Bruckner with his opera orchestra specializing in Wagner. Its own wonderful cantabile unfolds into the cellos and especially the double basses, when they combine in the first movement with the flute. Runnicles conducts a singing Bruckner. Just how certain the tempi "stand" with him is reflected not only in the overclocked general pauses in the scherzo dance, the dynamics is created by the ever tender tremolo of the violins. The orchestra, the very melody and color of the independent voices, reap the warmest applause with his chief conductor at Bismarckstrasse. The awesome farewell to Wagner is preceded by "songs of farewell" written by the young Erich Wolfgang Korngold in the vicinity of his "Dead City" , The set poems – Alfred Kerr as translator, Edith Ronsperger, Ernst Lothar – breathe Viennese flair, while the songs do not stand far from Richard Strauss. A lost intimacy weaves in them: "This one can not take my longing …" Irene Roberts, the American mezzo-soprano in the ensemble of the Deutsche Oper, sings the songs with wonderful empathy in their interval structure and word-bound sound world. Bravos also for her.


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