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28 Dec 2004

Die Presse Reviews Das Rheingold at Covent Garden

Covent Garden: über 193 Stufen nach Walhall VON PETRA HAIDERER Mit "Rheingold" begann der neue "Ring"-Zyklus in Londons Covent Garden Opera - Bryn Terfel sang erstmals den Wotan. This is Covent Garden!", sagt die me lodische Frauenstimme in der Londoner...

Covent Garden: über 193 Stufen nach Walhall


Mit "Rheingold" begann der neue "Ring"-Zyklus in Londons Covent Garden Opera - Bryn Terfel sang erstmals den Wotan.

This is Covent Garden!", sagt die me lodische Frauenstimme in der Londoner U-Bahn. Die Station der Piccadilly Line rechtfertigt den Namen "Underground" wie keine zweite. 193 Stufen wendelt sich der Opernfreund nach oben. Zwar gibt es einen (zu kleinen) Lift und die Treppe soll laut Ansage nur im Notfall benutzt werden. Doch Jung und Alt drängelt beherzt frischer Luft entgegen.

Auch im Royal Opera House ist der Andrang gross. Die Neuinszenierung von Wagners "Ring" - "Walküre" folgt im März, "Siegfried" und "Götterdämmerung" nächste Saison - ist das grösste Projekt seit der Wiedereröffnung des renovierten Hauses vor fünf Jahren. Der letzte "Ring" unter Bernard Haitink liegt acht Jahre zurück. Seit Wochen ist die Premiere des "Rheingold" ausverkauft. Auf der Homepage des Hauses erzählen die Protagonisten via Videoclip von den Hochs und Tiefs der Probenarbeit - allen voran Bryn Terfel, der erstmals als Wotan auf der Bühne steht.

Am Anfang: das Nichts. Kein Auftrittsapplaus für Dirigent Antonio Pappano. Aus dunkler Stille lässt der musikalische Chef von Covent Garden Wagners einleitende, schier endlose Es-Dur-Harmonie emporwachsen. Pappano unterstreicht vor allem das Lyrische, sucht das Kammermusikalische. Die Sänger, ein homogenes Ensemble auf hervorragendem Niveau, singen stets mit exquisiter Wortdeutlichkeit, können sich feinsinnigen Details widmen. Fasolts (Franz-Josef Selig) sachtes Bekenntnis zu des "Weibes Wonne und Wert" - dynamisch und im Tempo fein abgemischt - wird so zu einem besonders berührenden Augenblick.

An die kantige Plastizität von Wagners vielschichtig charakterisierender Klangsprache wagt sich der Maestro aber vielleicht zu vorsichtig heran. Zu sehr ist er offenbar dem reinen Schönklang verpflichtet. Alberich (Günter von Kannen) etwa fehlt die verzweifelte Wucht, das plötzlich hervorbrechende, dann wieder schleichend schwelende Böse, aus dem sich das dräuende Drama zum fatalen Untergang der Götter entwickelt.

[Click here for remainder of review.]

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