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

Les Indes galantes, Bavarian State Opera

Baroque opera has long been an important part of the Bavarian State Opera’s programming. And beyond the company itself, Munich’s tradition stretches back many years indeed: Kubelík’s Handel with the Bavarian Radio Symphony Orchestra, for instance.

Don Giovanni, Bavarian State Opera

All told, this was probably the best Don Giovanni I have seen and heard. Judging opera performances - perhaps we should not be ‘judging’ at all, but let us leave that on one side - is a difficult task: there are so many variables, at least as many as in a play and a concert combined, but then there is the issue of that ‘combination’ too.

A dance to life in Munich’s Indes galantes

Can one justly “review” a streamed performance? Probably not. But however different or diminished such a performance, one can—and must—bear witness to such an event when it represents a landmark in the evolution of an art form.

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

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):