13895 Wagner News 174 - Wagner Society of England

OXFORD WAGNER SOCIETY CONCERT
Sheldonian Theatre Oxford, 28th April 2012
Roger Lee
From the moment that we heard those characteristic “turns” heralding the overture to
Rienzi the measure of conductor Christian Stier’s achievement in bringing together an
orchestra which comprised equal numbers of experienced players and of students became
wonderfully apparent. The tutoring which had taken place among the musicians in the
preparations for this concert brought about a magnificent outcome of secure and
articulate playing which provided a solid platform from which Stuart Pendred made his
public debut in the role of Hagen.
This achievement of Christian Stier’s owed much to the fact that he had clearly
taken special care of the younger members of the orchestra during rehearsals. “We are
trying to get young people involved as much as possible. I tend to give them instructions
during the breaks rather than in front of the whole orchestra. The principal players (mostly
professionals or outstanding amateurs) are encouraged to work and engage with the
students in order to form homogeneous sections.” Having had to find Wagner tubas, a bass
trumpet and a contrabass trombone for this event, he added: “I am very grateful for all the
support I received from Wagnerians from both the amateur and the professional scenes.”
Viola player Basil Vincent enjoyed the fact that the orchestra was made up of this
cross-section of musicians. “I really enjoyed this aspect of the project as I was able to play
alongside much more experienced players than myself. The choice of Siegfried’s Funeral
March, Hagen’s Watch and The Vassals’ Chorus allowed a stimulating way in to some of
the most expressive sections of Götterdämmerung. I know that it was received very well!”
Playing bass trumpet fulfilled an ambition for 15 year old Nicola Adcock which
started when she played tuba for the Rehearsal Orchestra's play-through of parts of
Götterdämmerung with David Syrus a few months previously. “I sat behind the bass
trumpet and I desperately wanted a go on one. Word spread of my new obsession and so
when this concert came up, I was asked to play the bass trumpet. The way Wagner
incorporates this unusual tone into the orchestra is yet another of his unique achievements
and it is as enjoyable to play as it is to listen to.”
Christian Stier took a similarly open approach to putting together his Vassals’
Chorus, encouraging awestruck amateurs like me to join the ranks and benefit from the
experience of singing alongside the likes of John Cunningham and Nick Fowler from this
summer’s Götterdämmerung production at Longborough and Ian Wilson-Pope, Fulham
Opera’s highly-acclaimed Wotan.
Stuart Pendred’s earlier career as an actor was abundantly apparent as he
mesmerised the audience with his performance of Hagen's Watch. He then set about
summoning the Vassals over the full-powered (marked, indeed: sehr kräftig) orchestral
writing, working wonderfully with Christian Stier to create what Michael Tanner once
called “a scene of barbaric splendour.” Taking charge of the (authentically!) unruly chorus
with all of the authority which this role demands, he made those entries (which are so
difficult to time when you are not facing the conductor) with great precision, hitting every
note squarely in the middle from start to finish of the sequence.
This performance provided confirmation (if it were needed) of the visionary
decision by the powers that be at Longborough to cast Stuart Pendred as Hagen in their
production of Götterdämmerung later this year, when he will appear with Malcolm Rivers
as Alberich.
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