Wagner speechless

Teodoro Currentzis's presence in Barcelona is a regular occurrence, especially thanks to Ibercamera. Therefore, any musical event featuring one of the most sought-after conductors on the international scene is welcome. However, Monday's concert was perhaps the "easiest" of those offered by the Greek-born conductor, compared to the superb ensemble MusicaAeterna. "Easier" because, although Richard Wagner is a highly complex composer, his orchestral passages (preludes, vanes, or numbers that link the scenes of many of his musical dramas) hold immense appeal for a wide audience.

In this sense, The Ring of the NibelungDespite its density and immense duration (which can reach fifteen hours), it is one of those works for which Wagner reserves fascinating passages, from the pedal in E-flat major with which it begins The Rhine Gold (the prologue) up to Brunhilde's immolation at the end ofThe Sunset of the Gods (third and final day). In 1987, the conductor and composer Lorin Maazel (who has an opera based on the novel) 1984 (from George Orwell) decided to create a suite of about seventy-five minutes with some of those orchestral passages, although among them are others intended to accompany the voice. The result is, as we said, appealing.

And although the piece is spectacular, it remains a work for all audiences, lacking the profound depth of Wagnerian dramas in their purest form. In short, a treat suitable for virtually any taste.

But, of course, Wagner is something else entirely, and what we heard on Monday at L'Auditori was merely its surface, its wrapping. And Currentzis didn't exactly put in much effort either. By this I mean that it wasn't his most inspired performance of the many he has given us in unforgettable evenings, both in and outside of Barcelona. He also has a privileged instrument called MusicaAeterna, which projects a generous, well-crafted, and meticulous sound, although in concerts like the one we're discussing, Currentzis seems more concerned with the spectacular gestures and his trademark histrionics than with the musical content. But it's also true that, compared to Maazel's work, it's not something to get too philosophical about. And tomorrow is another day.