Birdsong: The Forest Bird in Wagners’ Siegfried

The Forest Bird in Siegfried, not unlike today’s songbirds plays a role in warning Siegfried of impending danger.

Birds have something to tell us indeed.

I recently had the opportunity to see Wagners’ Siegfried, one of the four operas that combine to create the epic “Ring des Nibelungen” or Ring Cycle. Wagner took his inspiration for The Ring Cycle from Norse mythology and an ancient German epic called the “Nibelunglied.” The Ring Cycle took more than 20 years to write, and was first performed August 16, 1876.

While I had seen Siegfried ten years ago, the experience was more significant after making The Messenger. What made it so special this time round was the role of the Forest Bird.

The Forest Bird is an actual character in the drama and has its own musical themes. Much of the Siegfried score occupies a somber yet beautiful low, bass tonal range with the exception of the Forest Bird — a musical motif that soars beautifully over the dramatic, emotional music.

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In act 2 Siegfried takes in the tranquility of the forest around him. Here, the audience is treated to a series of birdcalls, which Wagner is said to have modeled on actual birdsong. The oboe plays the first and it is answered by a second on the flute. Next the clarinet takes up a melody. This melody on the clarinet later becomes incorporated into the soprano vocal lines of the Forest Bird character.

bird calls

Humans have been inspired by birdsong for hundreds of years, and there is evidence to suggest that music pre-dates language in humans. In The Messenger we playfully re-purpose the musical motif of Wagner’s Forest Bird. Framed within a scene featuring contemporary techno artist and DJ Dominik Eulberg we created our own unique operatic moment with real forest birds singing along with the symphony. You can watch a short excerpt of the scene here.

 

Once we believed that birds were messengers between humans and the supernatural world. We would interpret the flight and songs of birds to foretell the future.

The Messenger opens with the voice over quoted above. Herein lies another interesting connection between The Messenger and Wagner’s Ring Cycle – as the Forest Bird does indeed have something to tell Siegfried. Like today’s songbirds, who in their very decline warn us of the environmental dangers we all face, the Forest bird warns Siegfried of danger, and by listening to the bird he is saved from a betrayal that would have cost him his life. Birds have something to tell us indeed.

Watch an except of The Messenger with Dominik Eulberg on Youtube.

Sneak Peek Preview: Dominik Eulberg

 

Mixing Sound – a sensory experience of place

In filming The Messenger we travelled to three different continents, and each place we went possessed a unique acoustic and auditory character. From the editing to the final mix, I felt it was imperative that we fully articulate this sensory experience of place and time.

Supervising Re-recording Mixer Daniel Pellerin with Re-recording Mixer Chris Guglick

Supervising Re-recording Mixer Daniel Pellerin with Re-recording Mixer Chris Guglick

As our final sound mix gets underway at URBAN POST in Toronto, we are very lucky to be working with the talented duo of Daniel Pellerin Supervising Re-recording Mixer and Christopher Guglick Sound Re-recording Mixer. These guys make for a super-busy team, as in the last few weeks they have mixed the films “Remember” (Atom Egoyan) and “Milk” (Noemi Weis).  From a practical perspective, this takes a team. So for many months, composer and sound designer Phil Strong has been fine-tuning music, location ambiences and bird song.

Chris Guglick; “The most unique aspect of mixing this film was the scope and range of all the different sounds of birds.  Phil did an amazing job organizing all the sounds which allowed me to take all of the different birds and give them a life on screen. I have worked in many different human languages, but working in the language of another species entirely was something new for me.”

Re-recording Mixer Chris Guglick at Urban Post

Re-recording Mixer Chris Guglick at Urban Post

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Because our schedule and budget are very tight, Phil was just a day or two ahead of the mixers with his work, sometimes outputting the original music just hours before it was needed in the mix theater – quite the marathon indeed. Importantly, the mix is a creative journey in its own right, as the work is both intense and intuitive.  Daniel Pellerin;

“With every film you have to find the language that suits the film. The tone of the characters, quality of the voices, the sense of unfolding time and emotion of the story.”

 

Joanne Jackson, Producer Left. Su Rynard, Director Right.

Joanne Jackson, Producer Left. Su Rynard, Director Right.

As a director, my work is very nuanced, often contemplative, and layered in both content and context. Sound plays a pivotal role. It is often the aural experience that positions how a scene will be experienced and interpreted. In The Messenger we walk a razor sharp edge between tragedy and joy, dramatic tension and release, optimism and sobering truths. In most cases it is the sound that tips the scale to what the experience will be. This balance is not something that can easily be achieved, but with this team I knew I was in good hands. Daniel Pellerin;

“I love docs that have to do with nature, as the challenge is to make it immersive — putting the audience in the theatre yet creating the feeling that they are not in the theatre. In this film, music and birds are the lead “instruments” and a delicate balance is required.”  This idea is taken a step further by Chris Guglick;

As a sound effects mixer I’m often asked to turn down the sound of birds because they can distract from the action in the film.  This film gave the birds a leading role that could, if executed poorly, distract from the important information being expressed by the other characters on screen.  Finding that balance was key.

Here is a taste of the mix experience. A brief pirate recording of my own film, created on my iphone. Enjoy.