Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2009 | 01 | 20091228 | Examining the dark sides of Wagner, Donald Macleod explores the composer's self-obsession. Wagner believed he was an extraordinary artist set apart from other men and, in the character of Lohengrin, the idea of a hero separated from ordinary mortals is followed to its logical conclusion. Wagner's perspective is revealed in his own words, against the backdrop of music from the opera. Donald Macleod examines the dark sides of Wagner, focusing on his self-obsession. | ||
| 2009 | 02 | 20091229 | Donald Macleod continues his examination of the dark sides of Wagner's personality, revealing his many affairs with the wives of his friends and patrons and revealing how Wagner himself viewed these relationships, through the composer's own writing, interwoven with music from the passionate but illicit love story of Tristan and Isolde. Donald Macleod examines the dark sides of Wagner's personality, focusing on his affairs. | ||
| 2009 | 03 | 20091230 | Donald Macleod concludes his examination of the dark sides of Wagner, and explores his shocking views about race, looking at what the composer himself wrote about this subject, including the essay Judaism in Music. Many commentators have argued that his racism is also revealed in his operas, especially The Mastersingers of Nuremberg. Donald examines the issues alongside music from the opera. Die Meistersinger von Nurnburg Hans Sachs, Cobbler - Bernd Weikl (baritone) Veit Pogner, Goldsmith - Kurt Moll (bass) Kunz Vogelgesang, Furrier - Michael Schade (tenor) Konrad Nachtigall, Tinsmith - Hans Wilbrink (baritone) Sixtus Beckmesser, Town Clerk - Siegfried Lorenz (baritone) Fritz Kothner, Baker - Hans-Joachim Ketelsen (baritone) Balthasar Zorn, Pewterer - Ulrich Ress (tenor) Ulrich Eisslinger, Grocer - Hermann Sapell (baritone) Augustin Moser, Tailor - Roland Wagenfuhrer (tenor) Hermann Ortel, Soap Boiler - Rainer Buese (bass) Hans Schwarz, Stocking Weaver - Guido Gotzen (bass) Hans Foltz, Coppersmith - Friedemann Kunder (bass) Walther von Stolzing, Knight - Ben Heppner (tenor) David, Sach's Apprentice - Deon van der Walt (tenor) Eva, Pogner's Daughter - Cheryl Studer (soprano) Magdalene, Eva's Nurse - Cornelia Kallisch (mezzo-soprano) Night Watchman - Rene Pape (bass) Chor der Bayerischen Staatsoper Bayerisches Staatsorchester Wolfgang Sawallisch (conductor) EMI 7243 5 55142 2 6, CD 1 Trs 1-2; CD 2 Trs 1-4; CD 4 Trs 8-13. Donald Macleod examines Wagner's shocking views about race. | ||
| 2021 | 01 | Total Artwork | 20210927 | 20230220 (R3) | Wagner dreams of creating a new kind of music theatre, but can he muster the extravagant resources he will need to see his grand visions made real? Presented by Donald Macleod. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Today: Wagner sets out his vision of a new kind of artwork that will unite all the arts and address the great philosophical questions of the age. These music dramas' would be staged in a specially constructed theatre of his own design. It would be a hugely expensive enterprise and surely far beyond the reach of the poverty-stricken composer. Das Rheingold, Scene 1: `Lugt, Schwestern! Die Weckerin lach in den Grund` Oda Balsborg, soprano (Woglinde) Hetty Plümacher, mezzo-soprano (Wellgunde) Ira Malaniuk, contralto (Flo߀hilde) Gustav Neidlinger, bass-baritone (Alberich) Vienna Philharmonic, conducted by Sir Georg Solti Prelude to Die Meistersinger von Nürnberg Concertgebouw Orchestra, conducted by Riccardo Chailly Tannh䀀user: Act 3 Scene 1: `Allm䀀cht'ge Jungfrau, h怀r mein Flehen!` and Scene 2 `O du, mein holder, Abendstern` Eberhard Waechter, baritone (Wolfram ) Anja Silja, soprano (Elisabeth) Bayreuth Festival Orchestra, conducted by Wolfgang Sawallisch Lohengrin: Prelude to Act III Berlin Philharmonic, conducted by Lorin Maazel Tristan and Isolde: Prelude and Liebestod Helga Dernesch, soprano (Isolde) Berlin Philharmonic Orchestra conducted by Herbert von Karajan Wagner dreams of creating a new kind of musical experience. Presented by Donald Macleod. |
| 2021 | 02 | Deceit And Disillusion | 20210928 | 20230221 (R3) | King Ludwig seem only too eager to bankroll Wagner's grand ambitions, but how long can he turn a blind eye to his hero's flaws? Presented by Donald Macleod. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Today: it appears that Wagner has found the ideal patron in King Ludwig II of Bavaria. The young monarch is a passionate admirer of Wagner's music and has the resources to realise all of Wagner's grand plans. However, Ludwig's ministers are suspicious about Wagner's motives and, soon, rumours of a scandalous affair threaten to derail everything. Das Rheingold: End of Scene 3 `Ohe! Ohe! Schreckliche Schlange - ` George London, bass-baritone (Wotan) Set Svanholm, tenor (Loge) Gustav Neidlinger, bass-baritone (Alberich) Vienna Philharmonic, conducted by Sir Georg Solti Die Walküre: Act 2, `Hinweg! Hinweg! Flieh die Entwihte!...` R退gine Crespin, soprano (Sieglinde) James King, tenor (Siegmund) Vienna Philharmonic, conducted by Sir Georg Solit Tannhauser: Act 2 Finale Wolfgang Windgassen, tenor (Tannh䀀user) Anja Silja, soprano (Elisabeth) Josef Greindl, bass (Landgraf Hermann) Bayreuth Festival Orchestra, conducted by Wolfgang Sawallisch, Lohengrin: Act 3, `In fernem Land` Placido Domingo, tenor (Lohengrin) Choir of Vienna State Opera Das Rheingold, Scene 4, Finale (Entry of the Gods into Valhalla) Kirsten Flagstad, soprano (Fricka) Eberhard W䀀chter, baritone (Donner) Oda Balsborg, soprano (Woglinde) Hetty Plümacher, mezzo-soprano (Wellgunde) Ira Malaniuk, contralto (Flo߀hilde) Will King Ludwig save Wagner's dream project, or ruin it? Presented by Donald Macleod. |
| 2021 | 03 | A New Beginning | 20210929 | 20230222 (R3) | Wagner selects the town of Bayreuth as the site for his new theatre, but the costs quickly spiral out of hand. Presented by Donald Macleod. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Today: Wagner puts his troubled relationship with King Ludwig behind him. He starts up an ambitious new theatre project in the Bavarian town of Bayreuth, but will the composer be able to meet the enormous financial challenges without Ludwig's help? Lohengrin: Act 3, `Treulich geführt ziehet dahin` (Bridal March) Vienna State Opera Choir Vienna Philharmonic, conducted by Claudio Abbado Tristan and Isolde: Act 2, `O sink hernieder, Nacht der Liebe - ` (Love duet) Peter Hofmann, tenor (Tristan) Hildegard Behrens, soprano (Isolde) Yvonne Minton, mezzo-soprano (Brang䀀ne) Bavarian Radio Symphony Orchestra, conducted by Leonard Bernstein Die Walküre, Act 3 opening (The Ride of the Valkyries) Birgit Nilsson, soprano (Brünnhilde) Helga Dernesch, soprano (Ortlinde) Berit Lindholm, soprano (Helmwige) Vera Schlosser, soprano (Gerhilde) Brigitte Fassbaender, mezzo-soprano (Waltraute) Vera Little, mezzo-soprano (Siegrune) Claudia Hellmann, mezzo-soprano (Ro߀wei߀e) Marilyn Tyler, mezzo-soprano (Grimgerde) Helen Watts, contralto (Schwertleite) Vienna Philharmonic, conducted by Sir Georg Solti Siegfried: Act 3, `Mit zerfochtner Waffe wich mir der Feige` Siegfried Jerusalem, tenor (Siegfried) Bayreuth Festival Orchestra, conducted by Daniel Barenboim Gotterd䀀mmerung: Prologue, Sunrise and Siegfried's Rhine Journey Wofgang Windgassen, tenor (Siegfried) Wagner selects a new site for his theatre, but the costs soon spiral. With Donald Macleod. |
| 2021 | 04 | Opening Night | 20210930 | 20230223 (R3) | The opening night of the very first Bayreuth Festival approaches, and with it, yet more troubles for Wagner. Presented by Donald Macleod. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Today: Wagner's Festival Theatre at Bayreuth is finally complete, after many years of struggle. Now all he has to do is put together an orchestra, a company of singers, an entire production team, and mount the most ambitious opera cycle ever conceived. If that wasn't enough pressure, the whole world is watching to see how he does. Siegfried: Act 3, `Heil dir, Sonne! Heil dir, Licht!` (Brünhilde's awakening) Birgit Nilsson, soprano (Brünnhilde) Wofgang Windgassen, tenor (Siegfried) Vienna Philharmonic, conducted by Sir Georg Solti. Die Walküre: Act III, Wotan's Farewell and Magic Fire Music Bryn Terfel, bass-baritone (Wotan) Berlin Philharmonic, conducted by Claudio Abbado G怀tterd䀀mmerung: Siegfried's Funeral March Oslo Philharmonic Orchestra, conducted by Mariss Jansons G怀tterd䀀mmerung: 'Starke Scheite schichtet mir dort` (Brunhilde's Immolation Scene) Gwyneth Jones, soprano (Brünnhilde) Bayreuth Festival Orchestra, conducted by Pierre Boulez Opening night of the very first Bayreuth Festival approaches. Presented by Donald Macleod. |
| 2021 | 05 LAST | Journey's End | 20211001 | 20230224 (R3) | Wagner's inaugural Bayreuth Festival has left him once again with crippling debts. Is this how his dream will end? Presented by Donald Macleod. This week, Donald Macleod follows Wagner on his decades-long journey to realise his dream of building his own music theatre, and establishing a festival there dedicated to his music. We see how Wagner's revolutionary ideas and vaulting ambition struggled against the reality of securing supporters, raising finances, and inspiring audiences. Today: Wagner's inaugural Bayreuth Festival had been a great critical success but had left him, once again with seemingly insurmountable debts. The planned second festival now seems like an impossible dream. The constant struggle has taken its toll, and Wagner's friends wonder if he has the strength to continue. Die Meistersinger von Nürnberg: Act 3, Scene 5 `Morgenlich Leuchtend` (Walther's Prize Song) Waldemar Kmentt, tenor (Walther von Stolzing) Choir and Orchestra of the Bayreuth Festival, conducted by Karl B怀hm Parsifal: Prelude to Act 1 Orchestra of Welsh National Opera, conducted by Reginald Goodall Parsifal: Act 1, Entry to the knight's castle Sir Donald McIntyre, bass-baritone (Gurnemanz) Orchestra and Chorus of Welsh National Opera, conducted by Reginald Goodall Meistersinger: Act 3, Scene 4, `Selig wie die Sonne` (Quintet) Bernd Weikl, baritone (Sachs) Ben Heppner, tenor (Walther) Cheryl Studer, soprano (Eva) Deon van der Walt, tenor (David) Cornelia Kalisch, mezzo-soprano, (Magdalena) Bavarian State Orchestra, conducted by Wolfgang Sawallisch Parsifal: Act 2, Scene 2 (Klingsor's magic garden) Siegfried Jerusalem, tenor (Parsifal) Edith Wiens, soprano (flowermaiden) Constance Hauman, soprano (flowermaiden) Daniela Bechly, soprano (flowermaiden) Hilde Leidland, soprano (flowermaiden) Pamela Coburn, soprano (flowermaiden) Sally Burgess, mezzo soprano (flowermaiden) Berlin Philharmonic, conducted by Daniel Barenboim Parsifal - Good Friday Music Columbia Symphony Orchestra, conducted by Bruno Walter Wagner's inaugural Bayreuth Festival leaves him mired in debt. With Donald Macleod. |