Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

Macbeth in Lyon

A revival of the Opéra de Lyon’s 2012 Occupy Wall St. production of Verdi’s 1865 Macbeth, transforming naive commentary into strange irony, some high art included.

Barber of Seville Is Fun in Tucson

On March 4, 2018, Arizona Opera presented Gioachino Rossini’s The Barber of Seville in Tucson. Allen Moyer designed the bright and happy scenery for performances at Minnesota Opera,

Moody, Mysterious Morel

Long Beach Opera often takes willing audiences on an unexpected journey and such is undeniably the case with its fascinating traversal of The Invention of Morel.

Acis and Galatea: 2018 London Handel Festival

Katie Hawks makes quite a claim for Handel’s Acis and Galatea when, in her programme article, she describes it as the composer’s ‘most perfect work’. Surely, one might feel, this is a somewhat hyperbolic evaluation of a 90-minute pastoral masque, or serenade, based on an episode from Ovid’s Metamorphoses, which has its origins in a private entertainment?

Oriana, Fairest Queen: Stile Antico celebrate the life and times of Elizabeth I

Stile Antico’s lunchtime play-list, celebrating the Virgin Queen’s long reign, shuffled between sacred and secular works, from penitential to patriotic, from sensual to celebratory.

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.



Richard Wagner
08 Mar 2007

Berlin “Ring” remains a sterling achievement

It was in the “Orwell year” 1984 that Götz Friedrich, general manager — Intendant — of the Deutsche Oper Berlin (DOB) from 1983 until his death in 2000, staged the first half of Wagner’s “Ring des Nibelungen” in the 1900-seat house on Berlin’s Bismarckstrasse.

Above: Richard Wagner (1862)


He completed it the following season.

Orwell’s chimera of total state control then still existed in communist Eastern Europe, and cold-war tensions were brought to a new height by new Soviet SS-20 nuclear missiles implanted in East Germany and — in response — Pershing II warheads sowed in West German forests by the US.

It was not a happy time. Germans saw their country as a nuclear battleground. Today, however, the nuclear threat is only an added feature of global terror.

Small wonder that Friedrich took Wagner’s gods and giants underground, suggesting refuge from a nuclear holocaust. And it’s hardly a surprise that this “Ring” continues to pack its wallop two decades after it was new.

Friedrich literally found his “underground” in the Washington, D.C. Metro, the model for the “time tunnel” designed by Peter Sykora as the site of this “Ring.”

In this hermetic refuge time and space are fused in a contemporary comment on the human condition.

Before Wagner’s music begins the curtain rises on immobile gods shrouded beneath white cloths. They come to life as actors in their own drama, knowing well a story they have told and re-told through the ages. And, as beginning and end merge in mythic recurrence, the gods return to their shrouds as the Rhine rises over Valhalla’s ruins at the end of “Götterdämmerung..”

This, one the one hand, is a new “Oresteiä;” on the other, it’s Beckett’s “Endgame” revisited. It engages the audience in a critical confrontation with the gods; the listener asks whether there might not be a way out of this complex labyrinth of greed, envy and death.

Thus Friedrich’s “Ring” achieves new relevance with each return of the production to the stage. (In its early years it also traveled to Japan and Washington.)

Even Bayreuth would find it difficult to assemble the cast on stage at the DOB for the cycle that ran from February 20 to 25.

Norway’s Terje Stensvold is a thoughtful Wotan, a man of authority and awesome both in vocal and physical stature. The cycle’s Sieglinde, Danish Eva Johannson will soon sing her first Brünnhilde in Vienna, and American Robert Dean Smith brings the heft of the baritone that he was earlier in his career to her “twin” Siegmund.

Richard Paul Fink, another American and today’s reigning incarnation of the role, takes obvious delight in Alberich’s evil machinations, while tenor Burkhard Ulrich eschews the emasculated, hand-wringing Mime now common elsewhere to offer a full-blooded portrait of this unattractive figure. And veteran American bass Eric Halfvarson sings an impressively dark and demonic Hagen.

Most versatile member of the cast is mezzo Marina Prudenskaja, who finished studies in St. Petersburg — her home town — just a decade ago. Here, on the heels of a regal Fricka, she sings Erda in “Siegfried” and both the Second Norn and Waltraute in “Götterdämmerung.”

Evelyn Herlitzius, Bayreuth’s 2004 Brünnhilde, could easily be taken for an energetic, teenaged athlete; she transcends the stereotypical image of the corpulent Wagnerian soprano.

She is a passionate singer in every range and at every dynamic level. Her portrayal of the betrayed Brünnhilde is as tragically moving as it is chilling. A bit of Edith Piaf grit in the lower register adds a special frisson to her work.

Beyond this overall excellence one member of this cast is truly remarkable: Alfons Eberz, who as Siegfried can simply be taken at face value. Indeed, if this character had a historic progenitor, one can only hope that was the match of this young German tenor.

Eberz, Parsifal at Bayreuth last season, isn’t merely young, blond and handsome, he’s that kid from the country whose innocence in the opening acts of “Siegfried” is totally unfeigned. He has no need to fake the pure fool that Wotan’s grandson is, he’s the blank page who makes it all genuine.

Eberz is obviously the Heldentenor that the world has dreamed of since World War Two; his voice balances beauty and power, and his stamina is endless.

With Herlitzius he elevates the “Awakening” scene that concludes “Siegfried” to a legendary level, for it is here that this “Ring” pays telling tribute to Götz Friedrich.

Friedrich, born and schooled in the East of then-divided Germany, was an assistant to Walter Felsenstein, who as mastermind of East Berlin’s Komische Oper in the first post-war decades taught Europe that opera isn’t just about singing, but that it is music theater.

His imprint is clearly felt in Friedrich’s direction of this scene.

True, the love of Siegfried and Brünnhilde was preordained, yet the text tells of the ex-goddess’ hesitation to surrender herself to her impassioned suitor. Compared, however, to the study in incipient eroticism that these two singers make of this scene, everything else is at best greasy kid stuff.

Indeed, Herlitzius makes clear here that even her earlier response to Wotan’s incestuous fondling was only the reaction of an inexperienced young woman to the advances of a man of high authority.

The greatest single contribution to the overwhelming success of the cycle, however, comes from conductor Donald Runnicles, the Scottish-born maestro now moving toward the end of his tenure as music director of the San Francisco Opera.

Through Runnicles’ intimate knowledge of — and experience with — this vast work, one hears things overlooked by Wagnerian wanna-bees. His attention to inner voices is relentless and never in the 16 hours of cycle does he resort to mere routine.

And the DOB orchestra, now heard in concert several times each season, is a superb ensemble. It was an unusual touch that after “Götterdämmerung” the entire group appeared on stage with Runnicles to accept the acclaim of the audience that packed the house.

Two concurrent events underscored the priority that Wagner is at the DOB: a single program that offered all the composer’s songs and “Klein-Siegfried,” Curt A. Roesler’s introduction to the “Ring” for kids eight and above.

A “Ringless” night was well spent at the Komische Oper, where Astor Piazzolla’s “María de Buenos Aires,” premiered in 1968 as a secular oratorio, has been fully staged by Katja Czellnik.

The libretto by Horacio Ferrer equates the sensual Mari’a both with sin-stained Buenos Aires and the Virgin Maria, sung on February 25 by Julia Zenka, while Daniel Bonilla-Torres delivered the lines of the spirit Duende in Sprechstimme. Tenor Matthias Klein was a gripping Cantor.

And although Berlin is home to three companies of international stature, opera in the city is not restricted to them.

On 19 February Texas-born soprano Laura Claycomb was the soloist in a program of Baroque opera with the Deutsches Symphonie Orchester Berlin conducted by Emmanuelle Haïm, a young French woman who brings a winning combination of grace, charm and energy to the podium, where she presided in part from the harpsichord.

A decade into her career, Claycomb, a product of Southern Methodist University and the San Francisco Opera studio, is without a peer among today’s young American sopranos.

In a packed Philharmonie, Hans Scharoun’s hall built under the watchful eye of Herbert von Karajan, Claycomb sang suites arranged by Haïm from two operas by Rameau and Handel’s 1707 cantata “Il delirio amoroso,” all works suited to the agile flexibility of her gifts.

Since German unification in 1990 pride of place among Berlin’s three opera houses has gone to the once-Eastern Staatsoper, at home in the historic Unter den Linden house built by Friedrich the Great.

 Happily, this “Ring” confirms that the Deutsche Oper remains a formidable force in the city’s vibrant musical life.

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):