Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

Anima Rara: Ermonela Jaho

In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Women's Voices: a sung celebration of six eloquent and confident voices

The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Rosa mystica: Royal Birmingham Conservatoire Chamber Choir

As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.

OPERA TODAY ARCHIVES »

Reviews

Janice Baird (Brünnhilde). © Rozarii Lynch photo
06 Sep 2009

Seattle humanizes Wagner’s Ring

In 2001, when Seattle Opera completed its current production of Wagner’s Ring des Nibelungen, it seemed the company had taken a step backward. In appearance the new Ring — the third full SO staging since Glynn Ross set out to make the city the American counterpart to Germany’s Bayreuth — was traditional.

Seattle humanizes Wagner’s Ring

Above: Janice Baird (Brünnhilde) © Rozarii Lynch photo

 

When in his stage directions Wagner said “tree,” scenic designer Thomas Lynch gave him one — or, in the case of Act One of Die Walküre — an entire forest of entangled trunks and branches. And director Stephen Wadsworth seemed content to tell the story as straightforwardly as possible. This was clearly not a concept Ring rooted in the writings of Marx or Freud and it made no attempt to come to terms with Germany’s tormented past — and Wagner’s involvement in it.

09-Rheingold-rl-231.gifGreer Grimsley (Wotan) and Stephanie Blythe (Fricka). © Rozarii Lynch photo

On the heels of the second SO Ring, completed in 1986 and on stage for the next decade, it disappointed many. For in that earlier production Swiss director François Rochaix and designer Robert Israel offered a post-modern “take” on the cycle, focused visually on the machinery with which Wagner had sought to make the Ring live.

However, with the revival of the Wadsworth Ring this summer, the production has grown and matured, and this largely because the director, a seasoned veteran of the spoken theater, has remained with it and taken advantage of its return to the stage of the Marion Oliver McCaw Hall to reveal his own deeper insights into what is no doubt the greatest single operatic achievement of all time.

Wadsworth — to reduce so remarkable an achievement to a single word — has humanized the Ring, continuing and perfecting the process that began with the first post-war Bayreuth Ring directed by Wieland Wagner in 1952. At that time the composer’s grandson “sanitized” the mammoth work, stripping it of the swords, spears and winged helmets that had helped — with willing participation of his family — to make Wagner the court composer of National Socialism. Wieland Wagner acted out of necessity, knowing that only a non-political Ring would be acceptable to a world still up to its ankles in the ruins of World War Two. And now Wadsworth capitalizes on the experiences of the half century since that revolutionary Ring to bring to the surface in it the universal humanity of a story, in which the participants are only outwardly super-human gods and giants. The result is a Ring in which the audience is totally absorbed by the intimacy of the story as Wadsworth leads them through it.

09-Rheingold-rl-184.gifFront: Greer Grimsley (Wotan) and Dennis Petersen (Mime); Back: Kobie van Rensburg (Loge) and Richard Paul Fink (Alberich); and the Nibelungs. © Rozarii Lynch photo

Happily, Seattle Opera, celebrating a quarter century under the erudite leadership of Speight Jenkins, has provided the director with everything needed to make the staging as moving as it is monumental. Seattle’s choice of Janice Baird as the season’s Brünnhilde had been the most heavily hyped opera news of the summer. Billed by Opera News as the new Wagnerian “it girl,” the American soprano had the audience understandably eager to hear what she could do. And the war cry with which Baird made her entrance in Act Two of Walküre on August 10 was indeed impressive. In sheer force, however, she was no match for Jane Eaglen, Brünnhilde in Seattle from 2000 through 2005, nor — for those old enough to remember her — for Linda Kelm, Seattle’s major singer in the role in the ‘80s. When, however, Baird dug into the drama in her first exchange with Wotan her total command of the role and its dramatic power were overwhelming.

She is an intelligent singer who knows this work thoroughly from European productions and she responded magnificently to Wadsworth’s direction. That, for example, she came down from her rock to tell Siegmund that he would die was a fine touch. Kneeling with her half-brother at the side of the sleeping Sieglinde, their duet became almost a trio. It was, of course, as the woman betrayed that Baird revealed the full extent of her powers in Götterdämmerung. She sang the concluding immolation with a searing sense of transcendent tragedy. And that she is a beautiful person of regal bearing made her an ideal figure for Wadsworth’s approach to the Ring.

She had an equal both in vocal and acting ability in Greer Grimsley as the Wotan of the summer. Tall and handsome, Grimsley delivered a finely nuanced portrayal of the errant god.

One of the most glorious moments of the cycle, however, was Stephanie Blythe’s warning monologue to Brünnhilde in “Götterdämmerung.” Now a major Wagernian, the American mezzo elevated this to the dramatic level of Wotan’s farewell and of Brünnhilde’s final immolation. And as the Fricka of the summer Blythe played a woman still hesitant to admit the waning of a once-great passion.

09-Walkure-cb-177.gifStuart Skelton (Siegmund), Margaret Jane Wray (Sieglinde), and Janice Baird (Brünnhilde). © Chris Bennion photo

Sieglinde has long been a signature role for Margaret Jane Wray, whose voice has darkened beautifully in recent years. She also sang the Third Norn in Götterdämmerung.

Over half the cast of the ’09 Ring was new to the Seattle staging, to which Australia’s Stewart Skelton and Denmark’s Stig Andersen made stellar contributions. Skelton displayed the most refined command of German diction in the cast, while Andersen was an enviably youthful Siegfried who matured markedly through the two Ring operas in which he appears.

Richard Paul Fink remains the world’s ruling Alberich, while Dennis Petersen played a remarkably masculine Mime, eschewing the elements of parody that cause many to see this figure as an expression of Wagner’s anti-Semitism.

South Africa’s Kobie von Rensburg was a witty and wily Loge, while Andrea Silvestrelli and Daniel Sumegi were well-matched giants Fasolt and Fafner.

In Walküre Silvestrelli was an especially loathsome Hunding, while Sumegi as Hagen offered a profound essay in the darkness of the human heart.

Conductor Robert Spano is now a well-seasoned Wagnerian, who understands the necessity of letting the composer have his way, allowing the music to unfold by its own inner — and organic — rules. The enlarged orchestra — drawn largely from the Seattle Symphony — played stunningly.

09-Siegfried-cb-161.gifRichard Paul Fink (Alberich) and Dennis Petersen (Mime). © Chris Bennion photo

Among the many magic moments were the brief but breathless pause that Spano and Grimsley inserted between the crucially visionary “das Ende” and the repeat of the words, sung here not with Hans Hotter’s long-traditional Sprechstimme, but rather with melancholy lyricism. And Spano’s elucidation of the shadings of sexual development that color the Awakening Scene at the end of Siegfried made the work of other conductors with this incredibly complex section of the drama seem at best Biology 101.

About some things Wagner allowed Wadsworth no choice. The eight Walküre whooped it up as they are wont to do, but no glorification of heroic death. And against Siegfried’s re-forging of the sword Nothung even Wadsworth was helpless. (Someone once suggested replacing this bit of banality with help from Gershwin: “I got plenty of Nothung, and Nothung’s plenty for me!”) And the excess of huggie-kissie throughout the cycle fell into the category of human, all-too human.

09-Gott-rl--250.gif: Gordon Hawkins (Gunther), Janice Baird (Brünnhilde), Stig Andersen (Siegfried), and Marie Plette (Gutrune), with supernumeraries and members of the Seattle Opera chorus. © Rozarii Lynch photo

The designs and costumes by Lynch and Martin Pakledinaz seems to have grown richer in color and beauty — due perhaps to increasingly sophisticated lighting by Peter Kaczorowski. This is clearly the current forerunner among American Rings, and one looks forward to its return for a final run in 2013.

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):