2015-09-11 01:28:04 UTC
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With Wieland taking his (unacknowledged) cue from the groundbreaking work of Swiss stage designer Adolphe Appia (1862-1928), the production's almost total absence of stage furniture, its use of non-period-or-place-committal costumes and settings, and the creative use of lighting to model and shape space and the characters who inhabit it, Wieland -- taking his grandfather at his word when in 1853 he declared that the yet unwritten music of the _Ring_ "shall sound in a way that people shall hear what they cannot see" -- created a neutral "frame" or "matrix" for the tetralogy, so to speak, that permitted the music itself, working in tandem with the text and the audience's own imagination, to fill in all the missing stage furniture as if it all were right in front of the audience's eyes. It was a masterstroke, a stroke of genius even, as it made manifest to the audience in the most intimate, Werktreue way imaginable Richard Wagner's deepest interior vision of the _Ring_ while rendering Wieland's properly transparent.
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Except for historically informed Wagnerians with knowledge of that previous radical new staging, I strongly suspect not.
Any thoughts on the matter?