by Daniel Hathaway

by Daniel Hathaway

by Tom Wachunas

In retrospect, Smillie’s directive to the audience on how to best embrace the first work of the evening, Prelude and Liebestod from Tristan und Isolde, and the third selection, Brünnhilde’s Immolation scene from Götterdämmerung (Twilight of the Gods), seems somewhat curious if not counterintuitive. Smillie posited that the dramatic thrust of these works cannot be wholly appreciated via the inadequate (and perhaps even silly) words in the libretto, but rather through the cascading orchestral surges he compared to musical orgasms. While we hear the singer with our ears and see her with our eyes, he explained further, we must listen to the orchestra with our hearts to experience what words on their own could never impart. [Read more…]