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• W629285087 abstract "Reviewed by: Richard Strauss and His Heroines dir. by Thomas von Steinaecker Colette Simonot-Maiello Richard Strauss and His Heroines. DVD. Directed by Thomas von Steinaecker. [Halle/Saale, Germany]: Arthaus Musik, 2014. 102 181. $22.49. In the film Richard Strauss and His Heroines, German filmmaker Thomas von Steinaecker presents Richard Strauss (1864–1949) as a composer shrouded in enigma and contradictions; a man with a secret. Steinaecker suggests that an examination of Strauss’s relationships with the women in his life and the operatic heroines he created, including Elektra, Salome, and the Marschallin, provides the key that unlocks the secret of the composer and his artistic inspiration. Not surprisingly, one of the film’s primary focuses is Strauss’s wife of over 55 years, Pauline de Ahna, an acerbic soprano who starred in his first opera, Guntram, as well as Alice Grab, his Jewish daughter-in-law and secretary. Biographical details and personal stories about Strauss and his family are set against a backdrop of Germany’s cultural history from the onset of the twentieth century to World War II. Highlights from Strauss’s operas and other works are interspersed in the narrative in an attempt to demonstrate connections among the changing status of women in Germany, Strauss’s personal life, and his compositions. Much of this information is conveyed in the form of interviews. Christoph Wagner-Trenkwitz, who acts as dramatic advisor at the Volksoper Vienna and has published extensively on Strauss, as well as noted scholar of German culture and literary criticism, Barbara Vinken, contribute significantly to the historical account. In the first half of the film, the rarely-performed Vier Lieder, Op. 27 is examined as a wedding gift to de Ahna and an emblem of the composer’s love for his new wife. In the first decade of their marriage, Strauss and de Ahna toured widely, performing Lieder programs. Through his wife, Strauss discovered the female voice and learned to compose for it. Salome and Elektra are offered as prime examples of [End Page 550] the strong, independent, and sometimes volatile modern woman that Strauss admired at the turn of the century (not unlike de Ahna). The Marschallin from Der Rosenkavalier, probably Strauss’s most famous opera, is lauded as an example of an older, more complex female operatic character. Excerpts from a number of recent productions of the featured operas are also included. One of the strengths of this film is the commentary from several prominent performers, including German singers Brigitte Fassbaender and Christa Ludwig, Austrian conductor Franz Welser-Möst, as well as American soprano Renée Fleming and Welsh soprano Dame Gwyneth Jones, who together provide the performer’s perspective on Strauss’s works. Christian Strauss, the composer’s grandson, makes a delightful appearance and not only allows the viewer into Strauss’s Garmisch home, but also provides access to the family’s home movies. Singer-songwriter and composer Rufus Wainwright appears in interview as well, but he seems awkwardly out of place in this film. Richard Strauss and His Heroines has general appeal for music academics and students, but its heavy reliance on interview material from prominent performers makes it most attractive to vocalists, vocal students, and opera fans. The film’s primary objective—to connect Strauss, his relationships with women, and his operas—gets somewhat sidelined in the second half of the film. While the segment about the status of women as conveyed in Die Frau ohne Schatten fits the film’s objective, the filmmaker fails to mention that Strauss’s long-time librettist and collaborator, Hugo von Hoffmansthal, based the Dyer and his Wife directly on Richard and Pauline Strauss. In addition, the film loses some credibility by misidentifying the Dyer’s Wife as the eponymous woman without a shadow. Furthermore, the rarely-performed Die Liebe der Danae is featured with only tangential links to Strauss’s personal life, while Intermezzo is given no space in the film at all, even though Strauss wrote the libretto himself based on an incident of mistaken marital infidelity from his early married life. The incident is incorporated into the film and Intermezzo is, however, discussed in a short essay found in the..." @default.
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• W629285087 date "2015-01-01" @default.
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• W629285087 title "Richard Strauss and His Heroines dir. by Thomas von Steinaecker" @default.
• W629285087 doi "https://doi.org/10.1353/not.2015.0013" @default.
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