Thu, Jan 31, 2013 - Page 10 News List

From bombastic to beloved, Joachim Sauer’s trip to Wagner’s ‘grail’
德國總理夫婿紹爾追尋華格納音樂理想之旅 從浮誇到最愛

An employee holds the manuscript of the piece Das Liebesmahl der Apost (The Feast of Pentecost) by Wilhelm Richard Wagner (1813-1883), which premiered at the Dresden Church of Our Lady on July 6, 1843, in the treasury of the Saxon State and University Library in Dresden, Germany on Jan. 17.
一位圖書館館員一月十七日在德國德勒斯登圖書館,展示威廉‧理察‧華格納(1813-1883)大型聲樂作品《使徒的聚餐》手稿。該作品一八四三年七月六日首演於德國德勒斯登聖母大教堂。

Photo: EPA
照片:歐新社

In his youth, theoretical chemist Joachim Sauer found the music of German composer Wilhelm Richard Wagner (1813-1883) “bombastic.” All that changed when he was in his early 20s with a chance encounter with Wagner’s Siegfried.

Now the annual Wagner summer festival in Bayreuth is one of the few occasions when the media-shy Sauer is seen in public with his wife, German Chancellor Angela Merkel.

This year, the bicentenary of Wagner’s birth, is a special one for the many millions of “Wagnerians” who share Sauer’s passion. It was the chance to talk about Wagner’s music, and only about music, that prompted Sauer to speak to Reuters.

“If you ask me what is the best good fortune in my life of course I say that I have seen in my lifespan the Wall coming down, the reunification,” said Sauer, 63, who grew up in communist East Germany.

“But the second, which comes with it, is perhaps that I now can go to Bayreuth.”

Sauer, considered a top expert in his field for his quantum chemical work with catalysts used in the chemical industry, and also in cars, met for an interview in English over dinner recently at the restaurant of the Deutsche Oper in Berlin where he went on to see Italian composer Giacomo Puccini’s (1858-1924) Tosca.

“They see me all the time at Bayreuth and think I only like Wagner’s music and it’s not true,” Sauer said. He also likes Beethoven, Mozart, some of the Romantic repertoire, even the music of the 20th century, and Italian composer Giuseppe Verdi’s (1813-1901) La Traviata, which he considers a masterpiece.

What is it, though, about Wagner’s music that Sauer, a slender, fit and cordial man whose smiling countenance throughout the dinner of fish and a glass of white wine belied his somewhat dour image in the German press, finds so engaging, if not to say addictive?

His conversion occurred by chance when he came home one day exhausted, he said.

“I was studying chemistry and this is a physically hard job because you are in the laboratory, you work hard and you come home in the late afternoon or in the evening and you always needed a break. So I would stretch out on the sofa, switch on the radio and listen to this special radio program which has a lot of classical music and I was listening to something. I didn’t know what it was but I found it very interesting.”

“And at the end it turned out it was a piece of Siegfried — from Wagner’s Ring cycle.” “So I told myself, ‘You’re an idiot...you should listen to it.’ So this was how it started.”

“It never ends, it’s so rich,” Sauer added, speaking of the appeal of Wagner’s operas, which include the story of the “swan knight” in Lohengrin, the 16-hour-long Ring and conclude with the quest for the Holy Grail in Parsifal. “And they are all so very different.”

He said Bayreuth, Wagner’s purpose-built opera house on the “Green Hill” in Bavaria, is unique in allowing busy people like himself, with a fulltime career as a professor at Humboldt University in Berlin, to get away from their daily routines and pay full attention to nothing but Wagner’s operas.

This year Bayreuth will unveil a new Ring by deconstructionist Berlin theatre director Frank Castorf, who has been known to dispense with whole sections of text in plays he directs, with the young Russian Kirill Petrenko conducting.

Sauer, who enjoyed the previous Bayreuth Ring under Wagner-immersed German conductor Christian Thielemann, is keeping an open mind.

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