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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

OPERA TODAY ARCHIVES »

Reviews

Linda Watson (Brunnhilde), John Treleaven (Siegfried) [Photo by Monika Rittershaus courtesy of LA Opera]
11 Oct 2009

Los Angeles “Ring” continues to amaze

It’s three down and one to go in the first-ever staging of Richard Wagner’s Ring des Nibelungen at Los Angeles Opera. Following the premiere of Siegfried, the third installment of this epic work of music theater, it’s clear that director/designer Achim Freyer is a hands-down winner.

Richard Wagner: Siegfried

Graham Clark: Mime; John Treleaven: Siegfried; Vitalij Kowaljow: Wanderer; Oleg Bryjak: Alberich; Eric Halfvarson: Fafner; Stacey Tappan: Woodbird; Jill Grove: Erda; Linda Watson: Brünnhilde. Los Angeles Opera. James Conlon, conductor. Achim Freyer, director/designer.

Above: Linda Watson (Brunnhilde), John Treleaven (Siegfried) [Photo by Monika Rittershaus courtesy of LA Opera]

 

The audience that packed 3,600-seat Dorothy Chandler Pavilion for the September 26 afternoon event, was even more wildly enthusiastic about Feyer’s work than it had been at the end of Rheingold and Walküre that launched this $32-million project last season. (True, there were “boos,” but they were almost totally inaudible against the bravos heaped upon Freyer and his production team.) Yet one must ask whether Freyer’s Wagner is as great as it seems. Has the director, whose theory of theater was shaped in his native East Germany in Bert Brecht’s Berlin Ensemble, really found a — if not the — key to Wagner’s genius or has he rather created a spectacle that awes his audience into breathless admiration?

Although Freyer is clearly a winner, the bigger question is how well Wagner fares under his hand. Every director — even in this age of overheated Regieoper — claims to do what the composer wanted done to realize his intentions. Let’s start with Freyer’s most obvious triumph: he leaves one with the desire to see the segments of this Ring again — an opportunity that will be available when LA Opera stages three complete cycles of the tetralolgy in 2010. Freyer brings an immense amount to Wagner; he makes every moment an overlay of meanings involving symbols impossible to absorb and interpret in a single exposure. Yet his approach to Siegfried, compared to his two earlier installments of the cycle, is relatively minimalist. The stage is uncluttered, and largely absent are the mammoth doubles of the major characters. The staging relies heavily on effects achieved through sophisticated lighting.

Siegfried, although rich in event with the forging of the sword, the slaying of Dragon Fafner and the launching of the love story that will dominate Götterdämmerung, is by far the most difficult of the Ring operas to stage. Wagner, viewing the four-part work as a symphony, suggested that this third chapter is a scherzo, and that has prompted some directors to introduce all sorts of funny-bone nonsense into the staging. Freyer — happily — goes in another direction. Nothung, the sword, is forged vocally without the trappings of the Village Blacksmith, and Siegfried runs Fafner through with only a blue-lighted tube. Indeed, the dragon that dwarfs the stage in many productions is an understated Disneyesque dwarf in top hat.

LAOpera_Siegfried02.jpgScene from Siegfried [Photo by Monika Rittershaus courtesy of LA Opera]

One is relieved at the removal of such hackneyed attempts at “realism.” Freyer keeps a tight lid on the scherzo idea. Humor in Wagner? One recalls the waggish observations that Pfitzner’s monumental Palestrina is Parsifal without the jokes.” The one line in Siegfried that gets a laugh in this age of surtitles is the hero’s observation as he removes Brünnhilde’s armor: “That’s not a man!” Wagner hardly expected to split sides with that!

Young Siegfried is — like young Parsifal — a pure fool with everything to learn and only four hours to do so. It’s a heavy trip, and Freyer offers all the help he can in hints and images to get the hero to his goal. It’s the goal — Siegfried’s awakening of Brünnhilde and the great duet that follows - that is most problematic in this staging. Brünnhilde, despite heavily incestuous intimations on the part of Father Wotan, is still a virgin. In terms of sexual enlightenment, however, she is light years ahead of Siegfried who has spent his early years tumbling about the woods with only bears as companions. In the duet a huge distance is yet to be covered in only half an hour of music. It’s here that Freyer offers so much help that Wagner’s music suffers.

The wealth of imagery, lighting effects and those “invisible” imports from Kabuki drama that move slowly about the stage are a study in excess. Text is all important here, and as the curtain fell one wished for a concert performance of the duet to underscore this fact. Freyer’s decision to hide Brünnhilde in a haystack — plus a towering Afro and billowing gown — offered little help. Indeed, although Freyer is out to illuminate text and explain the story, he often detracts from the musical excellence of this production. That excellence is largely the work of music director James Conlon who knows this score note by note and has built an orchestral second to none to do his bidding. His cast, furthermore, is without weak links. True, John Treleaven and Linda Watson, his Siegfried and Brünnhilde, are best viewed as adequate singers, who work with intelligent sensitivity to realize Freyer’s intentions.

Superb, on the other hand, is Graham Clark’s portrayal of Siegfried’s guardian dwarf Mime, a role to which he has claimed almost sole ownership for two decades. As Wotan disguised as the Wanderer Ukrainian Vitalij Kowaljow makes his mark as the most promising young singer to tackle this role in recent seasons. Jill Grove’s Erda is definitive.

What is most strange about this Siegfried is that it is without emotional impact — and perhaps Freyer wants it that way. His teacher Brecht, after all, was out to put feelings on ice and make people think in his didactic theater. The viewer is all too absorbed by Freyer’s approach; he keeps one thinking — or guessing at least. He is demanding, and it’s impressing that the audience responds as positively as it does. Yet an occasional goose bump would provide welcome relief.

A final observation: Freyer grew up secured from the decadence of Hollywood by the Anti-Fascist Protective Wall (the official East German designation for that structure). Yet in Los Angeles one is always aware that Hollywood is right next door, and there is much in Freyer’s Ring — the streaming of colored patterns, the choreography of lighted tubes — that brings that proximity to mind. On the other hand, had Wagner had this technology at his fingertips, he — like Bach at a Bechstein — would have gone bonkers. He would have abandoned his insistence upon “real” trees and rocks and lost himself in the imagination in which Achim Freyer indulges himself perhaps a bit too freely.

Wes Blomster

Götterdämmerung, which completes the Los Angeles Ring, plays from, 3 to 25 April, 2010. Three cycles of the Ring will be on stage between May 29 and June 26, 2010.

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):