06 Apr 2009
WAGNER: Siegfried — Rome 1968
Siegfried: Second day of Der Ring des Nibelungen in three acts.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
What happens when just everything about an operatic performance goes joyously right?
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Edouard Lalo (1823-92) is best known today for his instrumental works: the Symphonie espagnole (which is, despite the title, a five-movement violin concerto), the Symphony in G Minor, and perhaps some movements from his ballet Namouna, a scintillating work that the young Debussy adored.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
‘And therefore never send to know for whom the bell tolls; it tolls for thee.’ John Donne’s metaphysical meditation might have made a fitting sub-title for Richard Jones’s new production of Musorgky’s Boris Godunov at the Royal Opera House — the first performance in the house of the original 1869 score.
It is not often that a major work by a forgotten composer gets rediscovered and makes an enormously favorable impression on today’s listeners. That has happened, unexpectedly, with Herculanum, a four-act grand opera by Félicien David, which in 2014 was recorded for the first time.
In a world opera schedule packed with safe bread-and-butter warhorses, Hawaii Opera Theatre gambled on a Britten rarity and came up smelling as sweet as a tuberose lei.
Notable first performance of Bellini's opera by ENO, with a striking assumption of the title role from the young American soprano
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
Siegfried: Second day of Der Ring des Nibelungen in three acts.
Music and libretto by Richard Wagner.
First Performance: 16 August 1876, Bayreuth, Festspielhaus
Mime’s forge in the forest
Mime tries in vain to forge a sword strong enough for Siegfried to kill the dragon Fafner. Siegfried returns from the forest with a bear with which he terrifies Mime. He easily breaks the latest sword on the anvil. Mime reproaches him with ingratitude, reminding him that he has brought him up from childhood. Refusing to believe that Mime is his father, Siegfried manages to extract from him the information that his mother, Sieglinde, had died giving birth to him, leaving the fragments of his father’s sword, Nothung. Siegfried demands that Mime reforge this sword and storms out, hoping he may soon be free of the dwarf.
Mime knows he cannot forge the sword, but when the Wanderer (Wotan) appears and offers to answer any three questions on pain of forfeiting his head, Mime asks him only useless questions (about the races of dwarf, giants and gods). When the Wanderer demands a reciprocal question test, Mime is able to answer the first two questions but fails on the third: who will reforge Nothung? The Wanderer tells Mime that his head is forfeit, but he leaves it to be claimed by one who knows no fear.
Mime realises that this is one lesson he has failed to teach Siegfried and tries vainly to make up this omission, but Siegfried is unmoved, even by the mention of the fearsome dragon. Mime has to admit that his skill is unequal to the task of forging Nothung and Siegfried takes to the task himself, breaking all the rules of smithing, but succeeding, while Mime brews a potion he plans to administer to Siegfried when he has killed Fafner, so that he can kill him and seize the ring.
Deep in the forest, near the entrance to Fafner’s cave
Alberich waits near the cave, hoping that someone will kill the dragon and give him the chance to take possession once more of the ring. The Wanderer appears and, to Alberich’s surprise, professes no interest in the ring, but warns him that Mime is bringing Siegfried to kill the dragon. The Wanderer summons Fafner, who rejects Alberich’s offer to protect him from Siegfried in exchange for the ring.
Mime brings Siegfried to the spot, promising that here he will learn fear. Siegfried wonders about his mother and listens to the murmurs of the forest, in particular a bird, whose warbling he tries to imitate on a roughly improvised reed pipe. He gives up and blows a call on his hunting horn, which wakens Fafner. Siegfried kills the dragon; when he pulls out his sword, his hand is splashed with blood. As he sucks it clean, he finds himself able to understand the woodbird, which tells him to take the ring and Tarnhelm from the hoard.
Mime and Alberich meet and quarrel, watching with horror as Siegfried emerges with the ring and Tarnhelm. The woodbird warns Siegfried of Mime’s intended treachery and when Mime offers him the drugged drink, he is able to understand Mime’s thoughts and strikes him dead. The woodbird tells Siegfried of a bride awaiting him on a rock surrounded by fire and he sets off, following the bird.
A wild spot at the foot of a mountain
The Wanderer summons the sleeping Erda, once more seeking the benefit of her wisdom, but she answers that she now knows nothing, suggesting first that he ask the Norns (fates) and then Brünnhilde. She is horrifed to learn about Brünnhilde’s punishment. The Wanderer then says that he has no need of her advice as he has decided to accept gladly the end of his power; he will leave the world to Siegfried, and Brünnhilde will perform the redeeming deed.
But when Siegfried appears, he is impatient to find yet another old man standing in his path. His youthful brashness arouses the Wanderer’s anger and as Siegfried tries to go past, he interposes his spear, pointing out that the sword Siegfried carries has already been shattered by it. Believing that he has found his father’s enemy, Siegfried breaks the spear with his sword.
The Wanderer withdraws, no longer able to oppose Siegfried, who climbs the mountain and passes through the ring of flame which surrounds Brünnhilde. After some hesitation he kisses her awake and she greets him ecstatically by name. At first, however, she shrinks from his embrace, reluctant to lose her divine powers, but eventually responds to his passion and they triumphantly proclaim their love.
[Synopsis Source: Opera~Opera]