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Storyline
A deliciously biting satire about both the world of Grand Opera and United Europe. A Hungarian conductor (Arestrup) attempts to mount a bold new production of Richard Wagner's "Tannhäuser" while navigating the snares and pitfalls of artistic egos, rampant nationalism, internal company and union politics, and precarious funding. Written by
Dawn M. Barclift
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Trivia
The director's name,
István Szabó, translates as Stephen Tailor, and one running gag in the film is that several people are called this in different languages: Stefan Schneider, Steve Taylor, Stefano Sarto (three of the singers), and Etienne Tailleur (the stage manager).
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Soundtracks
"Du bis wie eine Blume"
(from song cycle "Myrthen, op. 25")
Music by
Robert Schumann
Text by
Heinrich Heine
Performed by
Kiri Te Kanawa soprano,
Roger Vignoles piano
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A Hungarian conductor tries to unite a multi-national European opera company preparing for a televised production of Wagner's Tannhauser, with mixed results. The same might be said of the film itself, which represents director Istvan Szabo's bid for a wider slice of international box office. Unfortunately, what begins as a mild but engaging Murphy's Law comedy (complete with labor disputes, political arguments, artistic conflicts and so forth) soon devolves into a phony feel-good melodrama, with all the comic frustrations of the early scenes jettisoned in favor of a predictably stormy off-stage romance between the conductor and his temperamental superstar diva (Glenn Close). A few incidental pleasures and an attractive, charismatic cast (presenting the entire European community in a fascinating microcosm) aren't enough to hide all the obvious shortcomings, including (but not limited to) shoddy lip-synching, unnecessary voice-over commentary, and the assumption that listening to Wagner is like dying and going to heaven.