Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

Camille Saint-Saens: Mélodies avec orchestra

Saint-Saëns Mélodies avec orchestra with Yann Beuron and Tassis Christoyannis with the Orchestra della Svizzera Italiana conducted by Markus Poschner.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

OPERA TODAY ARCHIVES »

Reviews

Richard Wagner
19 Jul 2009

Götterdämmerung at Aix-en-Provence — A Human Symphony

This year’s program at the Aix-en-Provence Festival includes Götterdämmerung, the much-anticipated final installment of the Ring co-sponsored by Festival d’Aix-en-Provence and the Osterfestspiele Salzburg.

Richard Wagner: Götterdämmerung

Siegfried: Ben Heppner; Gunther: Gerd Grochowski; Hagen: Mikhail Petrenko; Alberich: Dale Duising; Brünnhilde: Katarina Dalayman; Gutrune : Emma Vetter; Waltraute: Anne Sophie von Hotter; First Norn: Maria Radner; Second Norn: Lilli Paasikivi; Third Norn: Miranda Keys; Woglinde: Sara Fox; Wellgunde: Eva Vogel; Maria Radner: Annette Jahns

Photos by Elisabeth Carecchio courtesy of Festival d'Aix en Provence

 

Its minimalist design by Stéphane Braunschweig (stage direction and sets), Thibault Vancraenenbroeck (costumes) and Marion Hewlett (lighting) notwithstanding, this production delivers a compelling musical drama that focuses on the human condition.

This production of the Ring is an important step forward in the interpretation of Wagner’s musical drama. Absent are the clichés of characters dressed as Nazis (or as Eastern German soldiers in the recent Knöll production in Venice). Absent is the bewildering “balance” between science fiction and poetry as in the recent La Fura production in Florence or the absurdly ridiculous staging in Lisbon that employed a circus ring. Absent, too, are cardboard reproductions of medieval German forests, rivers and royal palaces as imagined by late 19th century intellectuals.

Rather, we finally have a psychological reading of the Ring that emphasizes the interpersonal relationships of the dramatis personae. The staging is minimalist. The sets consist of three walls, a window and a staircase, along with a few abstract. The props are three chairs, a leather armchair and two beds. Lighting and acting (what a quality of acting!) do the rest, keeping the audience on the edge of their seats for nearly 6 hours.

A key element of Götterdämmerung, as with the Ring as a whole, is the sequence of leitmotifs associated with a character, a place, an event, an object and so on. The Prologue begins with the sequence expressing primal nature and the Rhine (No. 2), Erda (No. 42) and then the Annunciation of Death (No. 83B). A new leitmotif (No. 154) is introduced as the Norns appear weaving the ropes of destiny, discussing past events, the doom of the gods, the curse of the Niebelung’s Ring, questioning the nature of a distant gleam of light (is it fire or is it dawn?).* The Norns then disappear and dawn breaks. With the radiant tonality of daybreak, Brünhilde and Siegfried emerge after a joyous night of love-making. We could not be more directly assured that we are no longer in a world of gods, giants, dwarves, dragons and demigods. We are in a universe of men and women where mist and the darkness are contrasted against light and the radiance. Light and radiance win. Thus, after nearly 6 hours, the turmoil of the downfall of the gods segues to the leitmotif of redemption by love — the old order is shattered, a glorious new world is revealed.

Earlier productions stressed that the men and women in Götterdämmerung stand alone with their problems (intrigues of power and wealth) and their passions. Valhalla (with its gods and goddesses) is at a distance. In this production, Wotan appears silently at the very end as the Wanderer to witness the demise of “his” world — the old order. The human psychological content of the Ring, and especially of Götterdämmerung, is central to this production as conceived by Bruanschweig, Vancraenenbroeck and Hewlett.

06-28Go1245.gif

Another key to a successful production of the Ring is the orchestra. Wagner thought of the Ring not as a cycle of operas (a rather normal practice in 19th century Germany) but as a festival drama (where each and every word had to be understood) with a symphony orchestra concealed in a pit under the stage (not to be seen by the audience). Sir Simon Rattle and the Berliner Philarmoniker transform Götterdämmerung into a symphony of humanity searching for a better world — independent of the intrigues of the gods, of the kings, of the dwarves, of the demigods and the like. A similar symphonic treatment had been attempted in the mid-1970s by the Washington National Opera in a production of Die Walküre (with Roberta Knie at the height of her splendour). But the staging was the traditional primeval Germany wrought in cardboard. And, with due respect to Antal Dorati, the Washington National Symphony never possessed the high standard of quality as that of the Berliner Philarmoniker. Sir Simon Rattle and his orchestra have greater skills than most other orchestras in finding the right musical colours, the gentle nuances, the always vivid imagination, especially the ability to slide from a chamber music Wagner (e.g. Solti, Böhm) to a highly dramatic , black, tragic Wagner (e.g. Boulez, Sinopoli, von Karajan, Fürtwangler). This is a Ring, and a Götterdämmerung, that demands many listenings to appreciate the symphonic rigor and impact produced by Rattle and company. A detail: there are six harps, as required by Wagner, which are placed just at the centre of the orchestra under the stage. “Normal” productions make do with two harps, often in a side box.

06-28Go1286.gif

This Götterdämmerung benefitted from great acting and singing. At the age of 55, Ben Heppner is a naïve Siegfried. The role is taxing, but his voice maintained a magnificently crystal clear timbre and exhibited superb phrasing, a moving legato and the ability to reach high C and F. Next to him, Katarina Dalayma as Brünhilde displayed full vocal and dramatic power. Her performance was particularly impressive in the holocaust of the final scene. An ever young and attractive Anne Sophie von Otter appeared as Waltraute, the desperate Walkürie tortured by the looming end of the world. The vocally and dramatically promising Emma Vetter was a whorish Gutrune. As Hagen, an impressive Mikhail Petrenko presented a character that was devilish, astute, even more evil than his father Alberich (Dale Duesing). The Norns and the Rhinemaidens (Maria Radner, Lilli Paasiviki, Miranda Keys, Anna Siminska, Eva Vogel) were all top-notch.

In short, if you missed this Götterdämmerung in Provence, it is worth traveling to Salzburg for performances to be held there next Easter. Moreover, a recording of this production is in process. Look for it in your music store.

Giuseppe Pennisi


*[Editor’s Note: The description and numbering of leitmotifs are based on Ernest Newman, The Wagner Operas 591-594 (Princeton Univ. Press 1949). The numbering of the leitmotifs, however, varies from source to source. Compare Ernst von Wolzogen, Guide through the music of “The Ring of the Nibelung” by Richard Wagner (Feodor Reinboth N.D.). It should be noted, however, that Barry Millington cautions against labeling leitmotifs because the context in which they appear rarely admits a consistently unequivocal meaning. Stewart Spencer & Barry Millington, Wagner’s Ring of the Nibelung — A Companion 14-24 (Thames & Hudson 1993).]

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):