Tag Archives: Metropolitan Opera

The Whiff of Scandal at the Bayreuth Festival

Hitler’s connection with the Wagner festival in Bayreuth is not – and should not be – forgotten…

The Russian bass-baritone Evgeny Nikitin was in a heavy-metal band in Russia during the Soviet era. He withdrew a few days before the première of Richard Wagner’s The Flying Dutchman after a German television news segment featured video footage in which one of his many tattoos seemed to resemble a swastika. Other photos revealed other tattoos that were apparently Scandinavian runes that had been co-opted as SS symbols during World War II.

“I had them done in my youth,” Mr. Nikitin, 38, said of the tattoos in a statement released by the festival. “It was a big mistake, and I wish I’d never done it. I was not aware of the extent of the irritation and offense these signs and symbols would cause, particularly in Bayreuth given the context of the festival’s history.”

In more recent statements released through the Mariinsky Theater in St. Petersburg, Mr. Nikitin said something different. The tattoo never depicted a swastika, he said. The video footage had captured an intermediate stage in the creation of the eight-pointed star that appears in current photos. And he now implied that it was done not in his rebellious youth but just a few years ago.

(The Metropolitan Opera said it was not re-evaluating his role in a new production of Parsifal in New York in February.)

Source: The New York Times, July 26

Being Lazy — Like Gustav Mahler

“I am being lazy,” Gustav Mahler wrote in a letter to his father-in-law in Vienna from the Hotel Majestic in New York in February 1908. “That is an art I shall never master.”

No doubt he wrote this during one of the few moments no demands were being made on him by the New York Philharmonic or the Metropolitan Opera. As he wrote, he had never learned the art of relaxation. In fact, it is almost impossible to understand how he managed to performed all his duties – in New York as music director of the Philharmonic and the Met and in Vienna as director of the Hofoper for ten years – and compose his ten symphonies. No wonder he died exhausted at the age of fifty-one on May 18, 1911 – a hundred years ago.

Thomas Mann was in Venice when Mahler died. He had known him and reported later that Mahler had been the only person he ever met of whom he was conscious of being in the presence of a great man. Mann was deeply moved by Mahler’s death. During Mahler’s last days, repeated communiqués were published about his deteriorating condition, “like that of a reigning monarch,” Katia Mann remembered in her memoirs.

It is no coincidence that Thomas Mann gave Gustav Aschenbach, the central figure in Death in Venice, Mahler’s features and that Luchino Visconti used the Adagietto of Mahler’s Fifth Symphony in his film version.