True, the cast was perhaps deficient in its declamation of English dialogue (the singing was in German), but the whole production, including Gerard Gauci's atmospheric sets (especially well lit by Bonnie Beecher and projection-enhanced in the spooky Wolf's Glen
Scene by Raha Javanfar) and Martha Mann's costumes, successfully conjured up the world of early Romantic opera.
3) This chord is expressed not only as a simultaneity but also, in the Wolf's Glen scene of Act II, as a succession of tonal centres: F[sharp]-C-E[flat]-A-C-A-C-F[sharp].
the implications of Max's announcement that he must venture at once into the Wolf's Glen, he gazes out of the window and observes:
As is well known, the key sequence of the extended finale of Act II (the Wolf's Glen scene) functions as a tonal spelling-out of what had formerly been a harmonic idea (the Samiel chord).
A second essay of particular interest is Newcomb's "New Light(s) on Weber's Wolf's Glen
Scene," I suspect that almost every music history instructor who reads this review has taught Carl Maria von Weber's famous half hour from Der Freischutz.
Newcomb's piece, following in the spirit of the 'operatic' introduced by Tomlinson, develops a fascinating connection between the invention early in the nineteenth century of the Disney-like phantasmagoria and Weber's Wolf's Glen
Scene in Der Freischutz.
In Act III, when Kaspar and company returned from the Wolf's Glen, their dialogue took place in a pre-recorded video projected onto both proscenium walls.
Richter's version of the Wolf's Glen scene included three-metre flames so hot their heat could be felt throughout the 27 rows of the Haus fur Mozart's parterre.
Lynch and Kubrick aside, this Wolf's Glen scene hinged on the Kaspar of Canadian John Relyea, who was simply a monster in this role, evil to the core.
Traditionally staged, it was given almost uncut (including the oft-deleted Wolf's Glen