Robert Gore-Langton talks to Ronald Harwood about musical life in Nazi Germany
Harwood wrote the play partly because he is obsessed with moral and political dilemmas faced by artists and partly as an antidote to war documentaries with titles like (as he puts it) ‘I was Hitler’s chiropodist’. ‘I was put on to Strauss when writing about Furtwängler in Taking Sides,’ he told me down the phone. ‘Years ago I was given a book of letters between Strauss and Zweig. I forgot about it and it came back to mind. The Strauss story is not well known, even in Germany.’
With plays about Mahler, Furtwängler and now Strauss, Harwood is doing for the lives of musicians on the stage what Ken Russell did on the screen. His latest play will certainly be much nicer about Strauss than Ken Russell was in his 1970 Omnibus film about him, The Dance of the Seven Veils. Russell’s controversial film — never shown and unavailable on DVD — sounds lavishly over the top even by his own lurid standards. Russell regarded Strauss as not just a second-rate composer but also a bedroom pervert and a Hitler sycophant to boot. In it (I am told) there’s a moment when Hitler plays the piano and Strauss dances to his tune. The play Collaboration is an extension of that metaphor. But Harwood comes at Richard Strauss without prejudice and makes it clear that the man was horribly blackmailed. The story goes that Strauss followed orders because the Nazis discovered that he had a Jewish daughter-in-law, Alice. The price of her survival was his co-operation with the State Music Bureau. His one moment of defiance seems to have been in his refusal to allow the librettist Zweig’s name to be removed from the poster for Die schweigsame Frau (The Silent Woman), an act which cost the opera its run and the theatre manager his job.
More articles from: Robert Gore-Langton | this section
Post this entry to: del.icio.us | Digg | Newsvine | NowPublic | Reddit
Advertisement
Kate Chisholm reviews recents radio broadcasts
Marcus Berkmann presents his records of 2008
Slumdog Millionaire
15, Nationwide
Cecilia Bartoli
Barbican
Turandot
Royal Opera House
The Cordelia Dream
Wilton’s Music Hall
Sunset Boulevard
Comedy
Fraser Nelson reviews the week in politics
Douglas Murray says that he stopped being an Anglican after analysing Muslim texts and deciding that no book — of any religion — could claim infallibility
Hänsel und Gretel
Royal Opera House
Mörder, Hoffnung der Frauen
Ardente Opera
Damian Thompson says we can learn a lot about Beethoven if we look beyond the symphonies
Lakeview Terrace
15, Nationwide
Summer
15, Key Cities
Build your own Sky package online. Sky TV, Broadband & Talk only £17.
PORTA METRONIA, ROME Standing high on the top of one of the seven hills of Rome- the Coelian- this unique
ROME and PARIS: over 350 holiday rentals apartments listed: visit www.romanreference.com and www.parisreference.com or call +39 0648 903612.
Goldsmiths by Design Welcome to Ruffs! You have found a company of Goldsmiths that specialises in the manufacture, amongst other
Spectator Business | Apollo Magazine
Corporate | Advertising | Privacy | Terms
Spectator, 22 Old Queen Street, London, SW1H 9HP
All Articles and Content Copyright ©2008 by The Spectator | All Rights Reserved
Michele
July 25th, 2008 10:43amDa Ponte didn't write the libretto for the Magic Flute, it was Schickaneder.
Cecilia Rabà
July 25th, 2008 12:27pmI advise yourselves the book of the Italian musicologist Quirino Principe "Richard Strauss-La musica nello specchio di Eros", Bompiani, Milan.