<< 1 >>
Rating: 
Summary: Adequate; mediocre. Ernest Newman does same thing better.
Review: Osborne gives some background on the writing of each of the mature Wagner operas. Then a quick plot summary, with some of the key musical themes. Since a synopsis comes with every complete opera recording, I'm not sure how useful these synopses are. We get too much explanation of plot and not enough critical commentary, by my standards. And little in the commentary is new; Ernest Newman's book "Wagner Nights", though 50 or so years older, is still a better introduction, making the same points as Osborne, and more. Not all the commentary is reliable; the chapter on "Parsifal" buys into some of the nonsense first talked by Robert Gutman about this opera (the Grail knights as homosexual SS order, and so on), which has been comprehensively and devastatingly demolished by Lucy Becket in her book "Parsifal". I find Osborne's "even-handedness" a little irritating at times. "Tristan und Isolde", he says, is a masterpiece, though it's too long, of course. That reminds me of Mozart's reply to the Emperor who thought his "Il Seraglio" score had "too many notes": "Which notes do you think I should take out?" (I'm quoting the "Amadeus" movie there, and from memory, so that's not quite what was really said, but close enough.) Like Mozart, I find that a dumb comment, unless Osborne cares to tell us which parts of "Tristan" etc we should do away with to make it shorter. And I think the job of someone writing an introduction to any composer is to be critical, certainly, but also to communicate enthusiasm, not weariness. So for new insights, Tanner, Magee, Millington are better, and for "sources, plot plot summary plus musical commentary" Newman is better. It's not actually bad, just mediocre. Also, unlike Newman Osborne covers the first three Wagner operas, "Die Feen", "Das Liebesverbot" and "Reinzi", so that's quite useful. Laon
Rating:
Summary: Adequate; mediocre. Ernest Newman does same thing better.
Review: Osborne gives some background on the writing of each of the mature Wagner operas. Then a quick plot summary, with some of the key musical themes. Since a synopsis comes with every complete opera recording, I'm not sure how useful these synopses are. We get too much explanation of plot and not enough critical commentary, by my standards. And little in the commentary is new; Ernest Newman's book "Wagner Nights", though 50 or so years older, is still a better introduction, making the same points as Osborne, and more. Not all the commentary is reliable; the chapter on "Parsifal" buys into some of the nonsense first talked by Robert Gutman about this opera (the Grail knights as homosexual SS order, and so on), which has been comprehensively and devastatingly demolished by Lucy Becket in her book "Parsifal". I find Osborne's "even-handedness" a little irritating at times. "Tristan und Isolde", he says, is a masterpiece, though it's too long, of course. That reminds me of Mozart's reply to the Emperor who thought his "Il Seraglio" score had "too many notes": "Which notes do you think I should take out?" (I'm quoting the "Amadeus" movie there, and from memory, so that's not quite what was really said, but close enough.) Like Mozart, I find that a dumb comment, unless Osborne cares to tell us which parts of "Tristan" etc we should do away with to make it shorter. And I think the job of someone writing an introduction to any composer is to be critical, certainly, but also to communicate enthusiasm, not weariness. So for new insights, Tanner, Magee, Millington are better, and for "sources, plot plot summary plus musical commentary" Newman is better. It's not actually bad, just mediocre. Also, unlike Newman Osborne covers the first three Wagner operas, "Die Feen", "Das Liebesverbot" and "Reinzi", so that's quite useful. Laon
<< 1 >>
| 
