Bayreuth, Germany (AP) — Following the successful debut of the Bayreuth Festival's first female conductor two years ago, Nathalie Stutzmann has now become the second woman to take the helm of a Richard Wagner opera in the renowned Festspielhaus, where the orchestra performs from a concealed pit.
Nathalie Stutzmann, a 58-year-old former contralto who recently completed her inaugural season as the music director of the Atlanta Symphony Orchestra, delivered an exquisite rendition of "Tannhäuser" on Friday evening. This performance was part of a revival of the Tobias Kratzer 2019 production, famously featuring the titular character in a clown costume and a dramatic scene set in a Burger King parking lot.
"It's certainly a positive development to be the second woman in this role," Stutzmann remarked. "This achievement signifies the progress that is taking place."
The Bayreuth Festival, established by Richard Wagner in 1876 and currently overseen by his great-granddaughter Katharina Wagner, achieved a breakthrough in gender representation among conductors with Oksana Lyniv leading a fresh interpretation of "Der Fliegende Holländer (The Flying Dutchman)" in 2021. Lyniv, 45, returned this summer for the third consecutive year to direct the Dmitri Tcherniakov production.
Katharina Wagner expressed her satisfaction, stating, "Their acceptance has been incredibly positive. I hope that, with time, this distinction will fade away, and we can focus solely on recognizing talented conductors, irrespective of gender."
In addition to her Bayreuth debut, Nathalie Stutzmann's year has encompassed notable debuts with the New York Philharmonic and the Metropolitan Opera. However, she faced controversy at the Metropolitan Opera when she claimed in a New York Times interview that musicians were disengaged due to the inability to observe on-stage activity. This statement prompted a response from the orchestra, and Stutzmann subsequently issued an apology.
Conducting at Bayreuth presents a unique challenge, as conductors must navigate an orchestra pit meticulously designed by Richard Wagner to remain concealed from the audience. The orchestra is arranged in nine descending rows towards the stage, with violins occupying the first two rows, followed by violas, cellos, double basses, woodwinds, brass, and percussion. The instrumental and vocal sounds blend before reaching the audience, seated across 30 rows and three tiers of boxes.
Stutzmann admitted to anticipating the novelty and complexity of this experience, having extensively researched the venue. She explained, "The auditory experience is significantly different from what the audience hears. This is why we rely on our assistants... It's challenging to hear the on-stage singers, and they often seem to be slightly out of sync even when we are perfectly coordinated."
Stutzmann's performance of "Tannhäuser," using the original Dresden score, was marked by its exceptional clarity, particularly during a pilgrims' chorus repetition in the overture when the tempo slowed and the volume diminished. Her efforts were rewarded with enthusiastic applause and a standing ovation during a prolonged curtain call lasting 14 minutes.
The success of her debut has led to an invitation for Stutzmann to return and conduct the 2024 revival of the fully-booked "Tannhäuser" production. This rendition, known for introducing the drag queen Le Gateau Chocolat and dwarf actor Manni Laudenbach alongside the title character and the goddess Venus, creates a counterculture ensemble that Richard Wagner could never have envisaged for his 1845 work.
In an interview conducted in New York prior to her engagement in Germany, Stutzmann playfully remarked on the suitability of "Tannhäuser" as her Bayreuth debut, given her twenty-five years as a contralto and the opera's complete title, "Tannhäuser and the Minstrels' Contest at Wartburg."
With a mischievous wink, she added, "In the end, it's a competition of voices, after all."
