White Shirt Wednesday: All The 40 Guns Awards



[Remember this one? No? Then check out the top right gif here. I’ll wait. – Remember now? I thought so. Now, see that choir singer up there dozing off in the background? That is so not us! – Daniela Sindram as Adriano in Wagner’s “Rienzi, Bayreuth (Frankenhalle, not on the Green Hill) 2013. – Photo Credit: BayreutherFestspiele via Die Welt]

While the Thielemann-conducted Rienzi-revival at Bayreuth in early July was generally sneered at for snoozy staging and its Meyerbeerian musical slant (not that I persoanlly find anything wrong with Meyerbeer) that supposedly not even Thielemann could salvage due to the bad, bad music-writing, there was praise, too. And a lot of it went to Daniela Sindram in the trouser role of Adriano.

Yes, Wagner actually did pay tribute to the White Shirts once in his life, and it’s definitely not what’s wrong with “Rienzi”. Also, we have thank the indomitable 19th century White Shirt star Wilhelmine Schroeder-Devrient for this part, which just goes to show that enough Romeos and Fidelios under your belt will even make Richard W. succumb.

While Sindram has done more Wagner in recent years (both Frickas, some Rhine Maidens, Waltraute and, which I’ve heard and which was fabulous, Isolde’s girlfriend Brangäne), it’s nice to see her mix that dramatic range with another trouser role. And for those who prefer the classic trouser repertory: there are two Octavians coming up this autumn for Sindram, one in Dresden (October) and one at the MET (December).

Meanwhile, I might have to rethink my stance on boyband hair bleach and stubble. Holy Stanwyck!

11 thoughts on “White Shirt Wednesday: All The 40 Guns Awards”

      1. Well, if she follows the path of one Christa Ludwig, we might get there eventually, although I think she’s a different type vocally.

        But yes, that would be one scenario where I would be the surprise of Pizarro, Florestan being a closet case and Marzelline eloping with Leonore because she’s still more amsculine that a tenor could ever be. 😉


    1. The only thing coming close might be Gisela Schubert’s Idamante, which I blogged back in 2008, I think. But yes, this one is really good, isn’t she? I also continue to be impressed by her versatility since she akso cuts a convincing feminine figure in other roles.


      1. Indeed! One of those, “why is there a is a female voice I can’t match up with anybody and what is that guy doing onstage?” moments!


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