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Resident in Paris for the occasion, Wagner created a French version of the work with the help of Charles Nuitter librarian of the Paris Opera at the time and modified the version of the work in various places.
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After six months of work and over laborious rehearsals conducted by Pierre-Louis Dietsch with a despotic Wagner looking over his shoulder, the opening night 13th March was greeted with derisive whistling from part of the audience: Parisian high society, that of the Faubourg Saint-Germain, which included a good number of anti-bonapartites, was involved, the opposition becoming increasingly political at the second performance on 18th March with the presence of the Imperial couple.
Wagner took his work off the bill after the third performance on March 24th.
Lohengrin, a late consecration Eine Kapitulation is the title Wagner gave to his farce, written in the style of an antique comedy to jeer at the defeat of the French in the Franco-Prussian conflict.
A fringe remained faithful to the Wagnerian repertoire even though the critics complained about the old-fashioned productions and dusty old pre-war scenery.
The Flying Dutchman, at last!
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It ran for 19 performances before the doors of the establishment were closed because of national conscription on 1st September However, it found itself obliged to submit to another invasion, that of visiting German opera companies intended to entertain the occupying force: The first event of any real importance was the triumphant return of the Canadian tenor, Raoul Jobin on 16th May in Lohengrin, his first major Wagnerian role.
On the feminine side, a young, talented French artist was to breathe new life into the interpretation of the great Wagnerian roles: She went on to perform the most celebrated roles of the repertoire until , when Wieland Wagner cast her as Kundry in Parsifal at the Bayreuth Festival, in spite of her having never before sung in German.
This launched her international career. Der Ring des Nibelungen in German for the first time with Hans Knappertsbusch At a period when the Paris Opera company were still singing the foreign repertoire in French and using the sets of Wagner productions from the beginning of the century, the soloists and chorus from Stuttgart Opera, conducted by Ferdinand Leitner, were invited to come and give three performances of Parsifal on 24th, 25th and 28th March , at the Palais Garnier and, for the first time ever, in German.
In , the Ring Cycle was also performed in German for the first time, once on 7th, 11th , 13th and 18th May and then on the 21st, 23rd, 25th and 27th May.
Hans Knappertsbusch, who was the author of a philosophical thesis on the character of Kundry Bonn University before becoming assistant conductor to Siegfried Wagner and Hans Richter at Bayreuth at the beginning of the second decade of the century, was at this time one of the greatest Wagner conductors: At Bayreuth there followed six Ring cycles , , and , thirteen Mastersingers , and and three Flying Dutchman From and the Ring onwards, Hans Knapperburtsbusch was a regular visitor to the Palais Garnier, notably in and , for six performances of Tristan und Isolde with Astrid Varnay.
It was performed in Paris on 25th February and caused a sensation.
Wieland Wagner used the staging, sets and costumes created for the Bayreuth Festival, in which the action took place amid vast, luminous, colourful spaces planted with totems. This landmark production was revived in and It opened on 26th May and was revived in and Production after production, the fifties and sixties marked the end of Wagner productions in French, even if some foreign works were still performed in that language on entering the repertoire.
We owe the final disappearance of French language opera productions to Rolf Liebermann who did not believe that complete understanding of the text was any guarantee of the democratisation of opera. Admittedly, recordings had widely popularised opera performed in the original language of the libretto.
The new production of reinstated several passages that the composer had arranged to satisfy the demands of Parisian audiences for the French premier in , including the famous ballet in the first act, choreographed at Bastille by Philippe Giraudeau. Jordan conducted his first tetralogy in at Zurich Opera with staging, sets and lighting by Robert Wilson, a production revived in With his Paris Ring, Jordan confirmed his commitment to the works of Wagner.
He made his Bayreuth Festival debut with Parsifal in Continuing on the same theme as in her thesis on the reception of the operas of Carl Maria von Weber in France in the 19th century , Corinne Schneider has continued her research on musical exchanges and cultural transfers between France and Germany in the 19th century.
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