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

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

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.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

Tristan, English National Opera

My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

OPERA TODAY ARCHIVES »

Reviews

Eric Halfvarson as Hagen, Alan Held (on stage, at front) as Gunther [Photo by Monika Rittershaus courtesy of LA Opera]
21 Jun 2010

Der Ring des Nibelungen in Los Angeles

$32,000,000, and it would have been a bargain at $50,000,000. Los Angeles Opera went for broke, and it paid off with a Ring that has raised the worldwide Ring bar to a dizzying height.

Richard Wagner: Der Ring des Nibelungen

Wotan: Vitalij Kowaljow; Loge: Arnold Bezuyen; Alberich: Richard Paul Fink; Mime: Graham Clark; Fricka (Rheingold): Michelle DeYoung; Erda: Jill Grove; Fasolt: Morris Robinson; Fafner: Eric Halfvarson; Freia: Ellie Dehn; Donner: Wayne Tigges; Froh: Beau Gibson; Woglinde: Stacey Tappan; Wellgunde: Lauren McNeese; Flosshilde: Ronnita Nicole Miller; Siegmund: Plácido Domingo; Sieglinde: Michelle DeYoung; Brunnhilde: Linda Watson; Fricka (Walküre): Ekaterina Semenchuk; Hunding: Eric Halfvarson; Gerhilde: Ellie Dehn; Helmwige: Susan Foster; Ortlinde: Melissa Citro; Waltraute: Erica Brookhyser; Rossweisse: Margaret Thompson; Siegrune: Buffy Baggott; Grimgerde: Jane Dutton; Schwertleite: Ronnita Nicole Miller; Siegfried: John Treleaven; Erda: Jill Grove; Woodbird: Stacey Tappan; Gunther: Alan Held; Hagen: Eric Halfvarson; Waltraute: Michelle DeYoung; 1st Norn: Jill Grove; 2nd Norn: Michelle DeYoung; 3rd Norn: Melissa Citro; Gutrune: Jennifer Wilson. Conductor: James Conlon. Director and Designer: Achim Freyer. Costume Designer: Achim Freyer and Amanda Freyer. Lighting Designer: Brian Gale and Achim Freyer.

Above: Eric Halfvarson as Hagen, Alan Held (on stage, at front) as Gunther

All photos by Monika Rittershaus courtesy of L.A. Opera

 

It was everything smart money can buy. L.A. superseded the sometimes sleazy flash of its film and television industry with brilliant flash, reminding us that this huge center of intellectual property is driven by artistic creation. There was no compromise. The nine day duration made it possible to retain the same Wotan, Brünnhilde and Siegfried et al. and to keep them in good voice, and it gave pilgrims to the L.A. Ring ample time to explore this magnificent city of art, architecture, gardens and music.

This Ring was indeed flashy, starting in the pit. Conductor James Conlon did not explore or even approach the cosmic sonorities of Wagner’s score choosing to propel text and musical line to their maximum tension, nearly unbearable in Wotan’s farewell to Brünnhilde (arms outstretched they passed without touching). He choose the brightest voices to enflame the Valkyries ride (though actually they just stood there), he unveiled the love of Siegfried and Brünnhilde with such urgency (though they stood on opposite sides of the stage) that it became vocally extremely dangerous — and breathtakingly exciting.

But the immolation was delivered by a Brünnhilde (facing the audience standing on a center stage podium) who was wise and resigned rather than ecstatic, and finally Mo. Conlon’s cataclysm was measured rather than unleashed. At the end Wagner’s resolution was not a hopeful return to a primal world but the sad, unlamented demise of tormented creatures. Operatic indeed, and heartbreaking too.

Though Mo. Conlon was perhaps limited by the L.A. Opera orchestra itself, his path was shared if not proscribed by line and color, by masks, puppets and symbols.

German artist Achim Freyer got the gigantic commission to create this staging of Richard Wagner’s treatise, a fancy that incorporates the nineteenth century bourgeois social conscience with opera’s age old tensions — love, jealousy and dirty politics. Just as much about all this old operatic stuff Wagner’s treatise is about art — the building of Valhalla and the forging of the ring. So Mr. Freyer made his own art the focal point of his Ring.

Achim Freyer’s art is visual and for Freyer music is equally visual. Music must flow therefore Freyer’s art too must flow. The static frames that are formed on the stage by Freyer’s masks and puppets are overlaid with constant movement. Sometimes by horizontal or vertical lines that traverse the stage’s fourth wall (the proscenium opening), sometimes by a gigantic stage floor disk that revolves, other times by huge cloths pulled across the stage. With Brünnhilde deprived of her divinity black human forms began to slowly traverse the stage in perpetual pacing. Freyer’s catalogue of flow was inexhaustible.

As the music of Germany’s great river flows from the Ring’s inception to beyond its end, Wagner’s music flows too for the Ring’s twenty or so hours (intermissions included) and so flows Freyer’s visual world for these eternal hours, an accomplishment as superhuman as Wotan’s building of Valhalla.

The architecture of the Ring world transformed the Dorothy Chandler Pavilion’s stage. A theater wide scrim was suspended halfway out over the orchestra pit, thereby incorporating much of the orchestra within the volume of the stage. The huge revolving disk was cantilevered far over the pit, platforms suspended on either side of the protruding disk held threatening batteries of lighting instruments. A huge, rather severe rake (sloping platform) covered the stage itself non plussing Siegfried tenor John Treleaven who tripped only a couple of times (second cycle), having warned the world through the L.A. Times that Mr. Freyer’s Ring was a dangerous place.

Rheingold-(Richard-Paul-Fin.gifRheingold — Richard Paul Fink as Alberich

The Freyer Ring is a dangerous and exciting space, it’s weapons (the sword and the staff) were tubes of light, its repose was long lines of light, its disorder these long lines broken into a myriad of small lines. The ultimate destruction of the space was effected by the racks of lights hidden in the flys (the space above the stage housing scenery and equipment) suddenly descending with blinding white light, Wotan’s ravens flying out to reveal two onstage conductors (prompters), the upstage scrim disappearing to reveal the bare stage back wall against which all creation flew every which way in black silhouette.

The world of art was destroyed at the same moment our own world was revealed as that same imaginary world. It could be depressing but instead it was thrilling art.

A Valhalla of theatrical art Freyer’s Ring had its Nibelheim as well. A small army (twelve) of silent slaves, Freyer’s Nibelungen, effected the huge puppets who doubled the Ring’s pantheon of characters in defining moments, trudged endlessly across the stage in black body stockings, donned elaborate Nibelungen attire, were rigged to fly above the stage, and the list goes one. It was endless, mindless, thankless labor.

Freyer’s singers, a veritable Who’s Who among opera singers, were but symbols in a gigantic visual world well beyond an opera stage, their faces were masked or painted, their bodies clothed in huge costume caricatures, Brünnhilde magnificent in a huge black wig that would shame Louis XIV. This camouflage left these artists naked as singers, and a vocally more brilliant cast cannot be imagined, down to the last Valkyrie.

Siegfried-(Graham-Clark-as-.gifSiegfried — Graham Clark as Mime, Vitalij Kowajow as Wanderer

Los Angeles itself seems a Valhalla. Traversing this heroic city on its endless Wilshire Boulevard, from the Music Center downtown through Koreatown, then MacArthur Park through Hancock Park stopping at Ace Gallery in Miracle Mile to see the paintings created by Achim Freyer while he was preparing the Ring (priced from $25,000 to $100,000) — canvases that are huge moments of soundless music. Offered too are the prototypes of Wotan’s ravens ($7500 each), and a huge Wotan puppet, the only work in the exhibition that includes sound — piano doodling on Ring themes ($50,000).

Continuing through Beverly Hills and Westwood finally Santa Monica appears and the Ruth Bachofner Gallery at Bergamot Station where L.A. Opera photographer Monika Ritterhaus exhibits her photographs of the Ring production. These stunning mementos of this great theater art were printed (by “art ink jet” onto silver rag) and shimmer in vibrant color (priced from $2500 to $5000). They may be previewed at www.RuthBachofnerGallery.com.

For in depth reviews of the individual operas please consult Opera Today (search title and city) and music critic Mark Swed at LATimes.com.

Michael Milenski

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):