Faszination Wagner presents highlights of the operas of Richard Wagner (1813–1883) in combination with specially produced music videos in a new dimension. The story of the each opera is thus comprehensively y accessible to the audience.
The project’s protagonists are Andreas Schager and Lidia Baich. Charismatic Austrian tenor Andreas Schager has recently become a rising star in the world of Wagnerian opera. His truly phenomenal vocal skills have already been also duly appreciated by Prague opera lovers who heard him for the first time at the Fórum Karlín hall in November 2017, singing the role of Siegmund in a concert production of the first act of Die Walküre (Prague State Opera orchestra, Andreas Sebastian Weiser conducting). Austrian violinist Lidia Bach ranks among the most distinctive artists of the young generation. She, too, appeared in the above-mentioned Prague concert, as the soloist in Alban Berg’s Violin Concerto.
In the project Faszination Wagner, the multi-award-winning opera and film director Selcuk Cara thematizes and analyzes Wotan's relationship with his children and grandchildren cinematically and scenically. Selcuk Cara says: „We begin with Siegfried's death, with the funeral march. We go all the way back, via Götterdämmerung to the Rheingold, to understand, how it could come so far, how it had to come that way. We are accompanied by a parallel running commentary film, which reveals the inner world of Siegfried primarily through associative pictures and sequences. Just when we think we are finding a strange peace in the waves of the Rhinegold, Hagens fury suddenly strikes us in thunderclaps. Our Ring begins and ends with Siegfried's death … When I was contacted a few months ago by Andreas Schager with the request to develop a concept for Faszination Wagner", I immediately realized that one needs to dissect a central strand of the ring tetralogy, so to speak, only within a directed concert: The father – son – grandson relationship. In my heatrical / musicological doctoral thesis thesis (The Ring of the Nibelungen – Decline of Family Structures as a Dramaturgical Tool in Richard Wagner's Ring Tetralogy, Summer 2008, Frankfurt am Main) I speak of Wotan and his attempt to exploit son Siegmund and grandson Siegfried, to abuse them as an extended arm or as an instrument of power; but it is also Wotan's responsibility to have caused, directly or indirectly, the death his own flesh and blood. Only within a directed concert, also only with a singer like Andreas Schager, who can impersonate Siegmund and Siegfried like hardly any other tenor of our days, it is possible to follow the emergence and conception of Richard Wagner's history of consistently retelling the ring tetralogy to understand the main strand of the ring tetralogy – not from the perspective (rather distress) of Wotan, but from the final tragedy of Siegfried.“