Opera

Der Ring des Nibelungen

January–February 2017, no. 388

Der Ring des Nibelungen, presented by Opera Australia three years after its première in Melbourne, was a great success, mostly because of the excellence of the singing ...

... (read more)

Episode #10 Peter Rose in conversation with Amber Wagner

by Hidden Author •

The ABR Podcast

Peter Rose interviews American Soprano Amber Wagner for the ABR Podcast following the first cycle of Richard Wagner's Der Ring des Nibelungen, which is being presented in Melbourne by Opera Australia. Amber Wagner plays the role of Sieglinde in the second opera Die Walküre.

<div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/3326-la-boheme-and-the-pearlfishers-opera-australia">La Bohème ★★★ and The Pearlfishers ★★★★1/2 (Opera Australia)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/2659-peterrose">Peter Rose</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">09 May 2016</span></div> </div> <div class="tagItemBody">  <div class="tagItemImageBlock"> <span class="tagItemImage"> <a href="/abr-arts/101-arts-update/3326-la-boheme-and-the-pearlfishers-opera-australia" title="La Bohème and The Pearlfishers (Opera Australia)"> <img src="/media/k2/items/cache/4db2a466ffb6d00bc38bfdc3d3082ea7_L.jpg" alt="La Bohème and The Pearlfishers (Opera Australia)" style="width:auto; height:auto;" /> </a> </span> </div> <div class="customHighlightText hasItemImage"><p><span class="dropcap">M</span>elbourne's long Indian summer coincided with Opera Australia's 2016 autumn season. It began with a revival of <em>La Bohème </em>and the new production of <em>The Pearlfishers</em><em> </em>(first seen in Sydney earlier this year). The much-anticipated <em>Luisa Miller</em> with Nicole Car will follow next week ...</p> ... <a href="/abr-arts/101-arts-update/3326-la-boheme-and-the-pearlfishers-opera-australia">(read more)</a></div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2668-ian-dickson-reviews-master-class-left-bauer-productions">Ian Dickson reviews 'Master Class' (Left Bauer Productions)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/2929-iandickson">Ian Dickson</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">13 August 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span><span class="dropcap">C</span>unningly promoted by her recording company, EMI, the Callas myth took off after her death on 16 September 1977 and continues to resonate to this day. Undeterred by Franco Zeffirelli’s excruciating screen homage to the diva, <em>Callas Forever</em> (2002), Callas projects starring Meryl Streep and Noomi Rapace have been announced.</span></p> ... </div> </div> </div>   <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-online/archive/2015/august-2015-no-373/158-august-2015-no-373/2654-michael-halliwell-reviews-the-oxford-handbook-of-opera-edited-by-helen-m-greenwald">The Oxford Handbook of Opera</a> <span>edited by Helen M. Greenwald</span></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/4893-michaelhalliwell">Michael Halliwell</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"><a href="/abr-online/archive/2015/august-2015-no-373" title="August 2015, no. 373">August 2015, no. 373</a></div> </div> <div class="tagItemBody">  <div class="tagItemImageBlock abr-tags__book-cover"> <span class="tagItemImage"> <a href="/abr-online/archive/2015/august-2015-no-373/158-august-2015-no-373/2654-michael-halliwell-reviews-the-oxford-handbook-of-opera-edited-by-helen-m-greenwald" title="Michael Halliwell reviews &#039;The Oxford Handbook of Opera&#039; edited by Helen M. Greenwald"> <img src="/media/k2/items/cache/d8133fe8b5933594698b20331fea7c64_L.jpg" alt="Michael Halliwell reviews &#039;The Oxford Handbook of Opera&#039; edited by Helen M. Greenwald" style="width:auto; height:auto;" /> </a> </span> </div>  <div class="k2IntroText hasItemImage abr-tags__book-cover"> <p><span class="dropcap">O</span>rpheus – composer and singer of his own song – is regarded as the founding figure of opera. One of the most arresting images of Orpheus is of his death – his dismembered head on his lyre floating down a river, still singing. Opera’s history is dogged by its own death wish; the art form has been pronounced dying, or even dead almost from its inception, yet z ... </div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2630-i-puritani-victorian-opera">I Puritani (Victorian Opera)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/2659-peterrose">Peter Rose</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">06 July 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span class="dropcap">‘I</span>n my Eden a person who dislikes Bellini has the good manners not to get born,’ wrote W.H. Auden in his poem ‘Vespers’ (1954). Like much of Auden’s table-talk, this may seem rather extreme, but those who attended last Thursday’s concert version of Vincenzo Bellini’s <i>I Puritani</i> may have gone away with similarly exclusive thoughts.</p> <p>Though ... </div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2627-the-barber-of-seville-melbourne-opera">The Barber of Seville (Melbourne Opera)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/4488-robholdsworth">Rob Holdsworth</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">29 June 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span><span class="dropcap">W</span>riting to a friend in 1898, Giuseppe Verdi said of Rossini’s <i>The Barber of Seville</i>:</span></p> <blockquote>You may say things about Rossini and they may be true regarding the borrowings, the speed of composition and so forth, but I confess that I cannot help believing ‘The Barber of Seville’ for abundance of ideas, for verve and for truth of dec ... </div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2621-tristan-und-isolde-sydney-symphony-orchestra">Tristan und Isolde (Sydney Symphony Orchestra)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/4893-michaelhalliwell">Michael Halliwell</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">22 June 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span style="line-height: 150%;"><span class="dropcap">A</span> music teacher in Thomas Mann’s early novel, <i>Buddenbrooks</i> (1900), when presented with some piano arrangements of <i>Tristan und Isolde</i>, recoils in terror: ‘I won’t play this ... This is not music ... It is pure chaos! It is demagoguery, blasphemy, and madness! It is the end of all morality in the arts. I will not pl ... </div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2554-don-carlos">Don Carlos (Opera Australia)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/3678-alastairjackson">Alastair Jackson</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">25 May 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span style="line-height: 150%;"> <span class="dropcap">P</span>assion and politics often go hand in hand – and never more so than in <i>Don Carlos</i>, arguably Verdi’s greatest opera. Based on the historically questionable play by Friedrich von Schiller, it is certainly the composer’s grandest and most ambitious work and the most demanding of his career. Because of church and state inte ... </div> </div> </div>    <div class="tagItemView"> <div class="tagItemHeader"> <h2 class="tagItemTitle"><a href="/abr-arts/101-arts-update/2553-elektra">Elektra (Bayerische Staatsoper)</a></h2>  <div class="abr-article-review-details"><span class="Grey-Medium">by <a rel="author" href="/about/author/2659-peterrose">Peter Rose</a></span> <span class="abr-bullet">•</span> </div> <div class="abr-article-issue"> <span class="Grey-Medium">25 May 2015</span></div> </div> <div class="tagItemBody">  <div class="k2IntroText"> <p><span style="line-height: 150%;"> <span class="dropcap">O</span>ur European summer holiday began in Munich – surprisingly cold and drizzly – perfect weather for long sessions in the Alte Pinakothek. This is one of the more forbidding of the great galleries, with its battered façade showing all the evidence of extensive bombing during World War II and a utilitarian rebuilding by Hans Döllg ... </div> </div> </div>  </div>  <div class="k2Pagination"> <ul class="pagination"><li><a title="Start" href="/about/tag/Opera?start=0">Start</a></li><li><a title="Prev" href="/about/tag/Opera?start=0">Prev</a></li><li><a title="1" href="/about/tag/Opera?start=0">1</a></li><li class="active"><a>2</a></li><li><a title="3" href="/about/tag/Opera?start=20">3</a></li><li><a title="4" href="/about/tag/Opera?start=30">4</a></li><li><a title="Next" href="/about/tag/Opera?start=20">Next</a></li><li><a title="End" href="/about/tag/Opera?start=30">End</a></li></ul> <div class="clr"></div> Page 2 of 4 </div> </div>   </div>  </div> </div>  <div id="back-to-top" data-spy="affix" data-offset-top="200" class="back-to-top hidden-xs hidden-sm affix-top"> <button class="btn btn-primary" title="Back to Top"><span 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