Rod's Ramblings
A podcast reminiscing about cultural events and how they affected this sixty something. Join me as we travel on a nostalgic journey through the cultural events that have shaped our lives. From classical composers, iconic music moments, rock stars and unforgettable TV shows. Let’s reminisce about how these events have influenced us all. Whether you’re a fellow baby boomer or just love a good story, Rod’s Ramblings offers a heartfelt, informative and entertaining look at the stories behind these great events. Cheers, Rod.
Rod's Ramblings
Harmonious Histories - Richard Wagner and His Ring Cycle Part 1 - Das Rheingold
Discover the enduring allure of epic storytelling as we explore both contemporary cinema and classic opera. Ever wondered how a film like "The Brutalist" can captivate audiences for 215 minutes? Or why Richard Wagner's 16-hour "Ring Cycle" remains a pinnacle of musical drama? Join me on Rod's Ramblings for insights into the artistry behind these expansive narratives. You'll hear about Wagner's journey from a struggling musician to a legendary composer who masterfully fused drama and music, leaving an indelible mark on the world of opera.
Get ready for a thrilling retelling of the gods' power struggle, featuring Wotan, the king of the gods, and a cursed ring that sets off a deadly conflict. We spotlight Sir Bryn Terfel's commanding performance as Wotan, while also touching upon Wagner's complex legacy, including his controversial political beliefs. This episode promises a captivating blend of storytelling, music, and cultural reflection. Whether you're a fan of operatic drama or modern-day cinema, this discussion promises to enrich your appreciation for long-form storytelling.
Hello there and welcome to Rod's Ramblings, a podcast reminiscing about cultural events and how they've affected this 60-something. Thanks for listening. Your support really is appreciated. As I've been researching this episode, everyone on the radio, tv and social media seem to have been talking about the BAFTAs and the nominations for the forthcoming Oscars. There seem to be two contenders for Best Film Wicked Part 1 and the Brutalist. Wicked Part 1 is the first instalment of a two-part adaptation of the stage musical of the same name, starring Cynthia Erivo as Elphaba and Ariana Grande as Glinda. Set in the land of Oz before Dorothy Gale's arrival from Kansas, its plot follows Elphaba, the future Wicked Witch of the West, and her friendship with her classmate Glinda, who becomes Glinda the Good. The Brutalist is a story about Lazio Toth, an architect who escapes post-war Europe and moves to America to rebuild his life, his career and his marriage. Both films have received 10 Oscar nominations, but the Brutalist seems to be leading the way in the Oscars build-up.
Speaker 1:Surprisingly, despite the film receiving a rating of 8.7 out of 10 on Rotten Tomatoes and a five-star rating from the Guardian's Peter Bradshaw, it isn't Brady Corbett's direction, adrian Brody's acting or the film's frank depiction of the American immigrant experience that's on everyone's lips, it's the length of the film. The Brutalist is a very brutal 215 minutes long. That's 3 hours and 35 minutes in old money. By anyone's standards, that's an incredible length of time for even the biggest film fan to sit through without a cuppa, a toilet break or an allowance for the slightest break in concentration. The filmmakers have recognised what a big ask they're making of the film going public and have deliberately written in a 15 minute interval. The filmmakers have recognised what a big ask they're making of the film going public and have deliberately written in a 15 minute interval. What has this got to do with your classical music discovery, I hear you ask.
Speaker 1:Well, as daunting as the length of time the Brutalist is on screen is, in the 19th century it was commonplace for operas to last at least three hours. Mozart's Marriage of Figaro, bizet's Carmen and Verdi's Aida all come in just under three hours. But the man who gets the award for making operas a long distance event is without doubt Richard Wagner. His famous pieces Tristan and Isolde and Tannhauser each last four hours and 46 minutes, whilst his last last composition, parsifal, is completed in slightly less time, plucking in at 4 hours and 15 minutes. These are individual pieces, each demanding a lot of concentration, but his pièce de résistance has got to be his ring cycle, also known as the Ring of the Nibelung. It's made up of four individual operas Das Rheingold, die Valkur, also known as the Valkyrie, siegfried and Götterdammerung, also known as Twilight of the Gods, with the full cycle lasting almost 16 hours. Incidentally, to put that into perspective, I understand that the full published works of the Beatles lasts a total of 19 hours. In recognition of this remarkable feat, I've decided to dedicate this episode of Rod's Ramblings to Richard Wagner and his Ring of the Nibelung.
Speaker 1:We'll start with a little bit about Wagner himself. Richard Wagner was born on the 22nd of May 1813 in Leipzig, saxony. His early life was anything but ordinary. His father, karl, died of typhoid just six months after Richard's birth, and 15 months later his mother, joanna, married Karl's friend, the actor and playwright Ludwig Geier. The family then moved to Dresden and for the first 14 years of his life Wagner was brought up as Wilhelm Richard Geyer. In later years, wagner came to believe that Geyer was in fact his biological father.
Speaker 1:Wagner's first forays into the world of music began when he was seven years old, whilst at Pastor Wetzel's school in Possendorf, near Dresden school in Possendorf, near Dresden. They didn't get off to the best start, with his teachers saying that he struggled to play a proper scale and he used to torture the piano in a most abominable fashion. That's got to go down alongside the famous quote from the Decca Records spokesman saying that guitar music will never catch on. When they rejected the Beatles, geyer's love of the theatre rubbed off on the young Wagner, who would take part in many of his stepfather's dramatic appearances, so much so that he initially wanted to be a playwright. He produced his first play, lubald, when he was just 13. It was a tragedy strongly influenced by Shakespeare and the German philosopher Johann Wolfgang von Goethe.
Speaker 1:Despite his interest in drama and his poor start in learning to play the piano, his passion for music grew and he developed a liking for the style adopted by Karl Maria von Weber, beethoven's symphonies and Mozart's Requiem. In 1829, he had a Saul of Damascus-like transformation moment when he saw a performance by the soprano Wilhelmine Schroeder-Devrion, whom Beethoven had asked to perform the role of Leonora in the revival of Fidelio. She had also created the role of Agathe for Weber's Der Freischutz. This ignited Wagner's desire to fuse drama and music, and he went on to enrol at Leipzig University in 1831, studying composition with Theodor Weinlig. He was so inspired by Schroeder-Devriel that he eventually had her portrayed as tragedy over the door of his house in Beirut, and it is believed that he spoke about her in the final moments of his life.
Speaker 1:Wagner went on to become a towering figure of the 19th century, known for his revolutionary contributions to the opera genre. His works, characterised by complex textures, rich harmonies and elaborate use of recurrent musical themes known as leitmotifs, have left an indelible mark on the world of classical music. A leitmotif is a musical theme associated with a main character, location or thematic idea that is regularly re-implied throughout a piece. The theme is constantly used so the listener can recognise the musical phrase and connect the action of the opera or movie with the music. The musical phrase and connect the action of the opera or movie with the music. The soundtrack in Star Wars films are a great example of how these are used, with different themes used for Darth Vader, luke Skywalker and Princess Leia.
Speaker 1:It wasn't just his music that set Wagner apart. It was his radical vision for what opera could be. He coined the term Gesamtkunstwerk. For what opera could be, he coined the term Gesamtkunstwerk, meaning total work of art, where music, poetry, drama and visual spectacle were to be fused into a single cohesive all. He believed that opera should emphasise the importance of each art form whilst contributing equally to the overall experience. He meticulously controlled every aspect of the production, from the libretto to the stage design, to ensure that his artistic intentions were fully communicated. This holistic approach to opera production profoundly influenced the development of the art form and set new standards for theatrical performance.
Speaker 1:There is a tendency, when talking about opera, to praise the composer of the music whilst not giving credit to the writer of the libretto, which is a bit like saying what a great songwriter Elton John is without mentioning Bernie Taupin. So, in the interest of balance, I'd like to share the next little snippet with you. One of Wagner's earliest successes was Rienzi Der Letze der Tribunen, the Letter of the Tribunes, which was premiered in 1842. The libretto was based on the novel of the same name by the English politician Edward Bulwer-Lytton. Bulwer-lytton was a very popular author and is known for being the originator of phrases such as the pen is mightier than the sword Sword from his play Richelieu, the Great Unwashed and the opening phrase it Was A Dark and Stormy Night. From his novel Paul Clifford. The opening phrase has led to the cynical Ball Were Lit In Fiction contest, which has been held every year since 1982, encouraging entrants to think up terrible openings in an attempt to find the opening sentence of the worst of all possible novels. Before we move on to Wagner's Ring Cycle, let's have a piece of music In keeping with this Rambles theme. I've chosen an epic piece of music by the composer Johannes Bornloff, no-transcript.
Speaker 1:The poetic edda, also known as the Elder Edda, is a collection of Old Norse poems, its authors being largely anonymous and passed down orally before being written down during the 13th century. The collection is divided into mythological and heroic sections, containing poems such as the Voluspa, a prophecy of the world's end, and the Havamal, which is a collection of wise sayings attributed to the god Odin. The Prose Edda, also called the Younger Edda or simply Edda, is a narrative work that explains the myths and poetic traditions of the Norse gods. It was written by the Icelandic historian and poet Snorri Sturluson in the early 13th century. The work is divided into several sections, including a narrative of the creation and destruction of the world and a treatise on poetic language.
Speaker 1:The Nibelungerlied, translated as the Song of the Nibelungs, is a medieval German epic poem written by an unknown poet around the year 1200. That is one of the most important works of German literature. It narrates the story of the hero Siegfried, his murder and the subsequent revenge taken by his wife, kremhild. It weaves together elements of adventure, romance, betrayal and vengeance. It consists of two parts. The first, following Siegfried's life, is acquisition of a vast treasure and his marriage to Komild, and the second part deals with Creomild's revenge after Siegfried's murder. The main characters are Siegfried, an heroic figure who has invulnerability except for one spot on his body, a little bit like Achilles. Creomild, siegfried's wife, who seeks vengeance for his murder. Gunther, king of Burgundy, and Creomild's brother and Hagen, a vassal of Gunther, who ultimately betrays and kills Siegfried. The Nibelungerlied has significantly influenced Germanic and Norse legends and has inspired many works in addition to Wagner's Ring Cycle and remains a cornerstone of medieval epic literature. Remains a cornerstone of medieval epic literature.
Speaker 1:Wagner's take on these legends was written over the course of 26 years, from 1848 to 1874. It all started when he wrote a libretto based on Norse mythology called Siegfried's Tod Siegfried's Death, but put it aside during his involvement with the Dresden Uprising and his flight into exile In 1850, he decided that this libretto needed a predecessor and produced one called Der junge Siegfried, jung Siegfried. He then felt he needed to go even further into the tale and wrote a libretto that might have been called Siegfried's Parents, since it tells their story, and that ended up as Die Valkur, the Valkyrie. Finally, he decided that this trilogy needed a prologue, and that was when Das Rheingold was formed. This would deal with the pre-history of the family drama, how magic gold was fashioned into an accursed ring, how the gods won and lost it, and how Wotan, their ruler, must scheme to get it back. To do justice to all four operas in this cycle, I'd have to force you to endure a brutalistic experience. So therefore, in the interest of sanity, I'd like to concentrate on just the prologue, das Rheingold. Don't worry, all the others will be covered in future episodes.
Speaker 1:In Das Rheingold we encounter gods, giants, dwarves and heroes, all embroiled in a tale of power, greed and the accursed Rhinegold that bestows limitless power upon its possessor. Wagner intricately weaves these mythological elements to create a rich tapestry of drama and music. I'd like to share my understanding of the story with you. Incidentally, if you find yourself asking have I heard this story before? Rest assured, this is the original. I can confirm that this was written in 1854 and Tolkien wasn't born until 1892.
Speaker 1:Our story begins at the base of the River Rhine. A horde of shimmering gold is being guarded by a group of eerie and ethereal creatures known as Rhine Maidens. Their leader, valgunda, stands at the head of the group. The dwarf, alberich, appears, sees the gold and is immediately drawn towards it. Valgunda meets him at the river's edge and begins to taunt him with tales of the power that the gold holds. Whosoever forges a ring from the gold will be granted unimaginable power, she whispers into his ear. Alberich's eyes begin to gleam with an unholy hunger as Velgunda continues. However, a price must be paid, she whispers. Power will only be passed to the ring-bearer if he or she will renounce love forever. Alberich begins to flirt with the Rhine-maidens, inviting them to join him, but they mock him regarding his size and looks and taunt him with cruel laughter. He becomes enraged with the maidens, but increasingly obsessed with the gold, and as maniacal desire overtakes him, he renounces love, snatches the gold and flees into the abyss Under cover of darkness. The dwarf forges a ring, places it upon his finger and declares himself the Lord of the Nibelungs. Meanwhile, as Alberich, valgunda and the Rhydemadens have been battling over the gold.
Speaker 1:Wotan, king of the Gods, has instructed two giants, fasolt and Fafner, to construct a new castle which will become the home of the gods. In return for this, they are promised Wotan's sister-in-law, freya, the goddess of youth and beauty. Freya and her sister hear of this deal and, desperate with fear, they plead with Wotan for protection. Wotan reassures them and tells them that all will be well, as Loghi, the god of fire, has a plan that will save them. The work is completed. The giants arrive and demand their prize. Wotan attempts a futile compromise, but Fasolt and Fafner, their voices dripping with menace, warn him against breaking their pact. As tension mounts, loghi arrives with news that sends shivers down their spines Alberich has stolen the gold. Fasolt senses a shift in power, convinces Fafner that the gold is more valuable than the girl and tells Wotan that they will exchange Freya for the gold ring. They agree to return that evening, taking Freya as an hostage.
Speaker 1:Wotan and Logus set off for Nibelim in order to retrieve the ring and the gold. As they descend into its shadowy realm, they find Alberich. Now a cruel tyrant has enslaved the Nibelungs and forced them to mine the ground in order to find more gold. A fight breaks out and Wotan and Logi manage to overpower Alberich. Wotan seizes the ring and places it on his own finger. Alberich, his face contorted with rage, curses the ring and all who will possess it.
Speaker 1:Later that evening the giants return, dragging a pale and trembling Freya beside them. Wotan and Logi offer them Alberich's cursed bounty in exchange for Freya, but Fafnir, his eyes burning with greed, demands the ring. Wotan refuses and the air grows heavy with impending doom. Erda, goddess of the earth, emerges from the shadows, warns Wotan of the curse and advises him to give up the ring before he can do more harm. Trembling, wotan reluctantly hands over the ring and Fafnir and Fasolt overcome with bloodlust, turn on each other. In a gruesome moment, fafnir slays Fassolt and flees with the gold. As the sky clears, the gods' new home looms ominously on the horizon. Wotan, with a hollow pride, proclaims that this new palace will be called Valhalla. A spectral rainbow bridge appears and Wotan leads the gods into their new realm as the curtain falls.
Speaker 1:There we have it an extremely shortened version of a story which lasts two and a half hours. This is a good time for another piece of music, and in this case I've chosen a piece by the composer no-transcript, featuring a range of talented singers. Some prominent performers who have taken on key roles are Greer Grimsley, john Tomlinson and Bryn Tafel, who all played the King of the Gods, wotan. Alberich the Dwarf has been played by Albert Doman, matthias Gorn and Hans Söthin. Richard Cox, graham Clarke and Robert Dean Smith have played Logie, the God of Fire. The Queen Fricka has been played by Elizabeth de Jong, walt Rode Meyer and Janina Beheel. The roles of the giants Fasolt and Fafner have been taken on by Christine Sigmundson, kurt Moll and Mattis Salminen, daniel Semege, robert Lide and James Morris and finally, freya has been played by Jessica Fassolt, iris Vermillion and Eva Johansson. The most famous of these is probably Sir Bryn Turfle Jones.
Speaker 1:Bryn Turfle is celebrated for his powerful bass baritone voice and his versatility across different operatic roles. He was born on November 9, 1965, in Pantglass, carnarvonshire, wales. He showed an early interest in music, learning traditional Welsh songs from a family friend, and moved to London in 1984 to study at the Guildhall School of Music and Drama. Bryn won the Kathleen Ferrier Memorial Award in 1989 and made his operatic debut as Guglielmo in Cosi Fan Tutti for the Welsh National Opera in 1990. In addition to playing Wotan in Das Rheingold.
Speaker 1:He is well known for his performances in Mozart's operas the Marriage of Figaro and Don Giovanni and Richard Strauss' Salome. He has received multiple Grammy Awards, including Best Opera Recording in 2013, and was knighted in 2017 for services to music. Over the years, he has been actively involved in promoting and nurturing young singers through the Pendine International Voice of the Future competition at the Llangollen International Music Eisteddfod. He has urged talented young singers from Wales and beyond to participate in this prestigious competition, which provides a significant platform for emerging artists. Sir Bryn himself headlines the closing concert of the Eisteddfod, offering a wonderful opportunity for these young singers to perform alongside him. He continues to be a prominent figure in the world of opera and classical music.
Speaker 1:Thanks for listening to my rumble about Richard Wagner and the Ring of Nibelung. I recognise that we still need to talk about the remaining three operas in the Ring cycle, and we haven't even touched on his relationships with women, his political beliefs or his notoriety for anti-Semitic beliefs. I'm looking forward to sharing these with you in future rambles, but until the next time, on Rod's Ramblings, cheers and take care.
