An interdisciplinary conference featuring two performances
Monday 9 April – Wednesday 11 April 2018
Faculty of Music and Jesus College, University of Oxford
Keynote speakers: Barry Millington and Patrick Carnegy
Jesus College and the Faculty of Music at Oxford was pleased to host the interdisciplinary conference ‘Wagner 1900’ on 9-11 April 2018. Featuring two performances and a rich academic programme, ‘Wagner 1900’ has investigated the impact of Richard Wagner on fin-de-siècle Vienna in music, history, politics, the visual arts, theatre and German culture. Two performances were at the centre of the conference: each integrated and opened key issues of performance practice in historical and contemporary staging, thus making ‘Wagner 1900’ a unique combination of research-based performance and performance-based research. The reconstruction of Gustav Mahler’s production of Wagner’s Tristan in 1903 opened a new perspective to investigate the complex interpretative questions raised by historical performances, while John Casken’s new piece Kokoschka’s Doll (2017), performed by the distinguished bass Sir John Tomlinson with the acclaimed ensemble Counterpoise, offered a seminal contribution by proposing a contemporary vision of fin-de-siècle Vienna.
For a report of the conference by Andrea Buchanan from the Richard Wagner Verband:
See also The Wagner Journal, vol. 12 no 3, November 2018 for Tash Siddiqui’s report
Anna Stoll Knecht [convenor], Roger Allen, Anastasia Belina, Peter Franklin, Tosca Lynch and Merel van Tilburg
The conference organisers gratefully acknowledge the generous support of Jesus College (Oxford), the Faculty of Music, the John Fell Fund, the Mariann Steegmann Foundation, the Music & Letters Trust, the Wagner Society and Richard Wagner Verband in making this event possible.
We also thank the Theatermuseum in Vienna for allowing us to use a drawing by Alfred Roller as our conference logo (A. Roller, sketch for Tristan und Isolde, 1903, black and white, Roller Archives, Theatermuseum, Vienna).
Logo ‘Wagner 1900’ by Gabriele Donati, New York.