Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

OPERA TODAY ARCHIVES »

Performances

Nina Stemme (Brünnhilde) and Ian Storey (Siegfried). [Photo by Cory Weaver courtesy of San Francisco Opera]
06 Jul 2011

Der Ring des Nibelungen in San Francisco

Some of the experts said it was the best Ring ever, others merely said it was one of the best (these were lecturers at a Wagner Society symposium).

Richard Wagner: Götterdämmerung

Click here for cast and other information.

Above: Nina Stemme (Brünnhilde) and Ian Storey (Siegfried).

All photos by Cory Weaver courtesy of San Francisco Opera

 

The final curtain down at last on the second cycle, the audience leapt to its feet and roared. What was all the fuss about?

The delights of the San Francisco Ring were myriad. The cycle played out over a mere six days during which Wagner’s drama did not seem to stop. It was an immersion Ring rather than episodic one as the Freyer Ring in L.A. seemed over its ten long days, not to mention the Berlin Philharmonic Ring in Aix-en-Provence that was spread over four years.

Conductor Donald Runnicles slid into the initial E flat pedal tone and relentlessly sustained Wagner’s orchestral deliberation for its seventeen hour duration. The maestro drove an orchestral continuum that was imperceptibly fleet (it was actually fast), its speed though was calibrated to the careful articulation of Wagner’s score, the conductor knowing that Wotan’s plight and designs give rise to riveting music only when they are musically exploited to the maximum.

Mo. Runnicles achieved a rare transparency of orchestral sound in the War Memorial, the percolating inner voices of the continuum often shining brilliantly in the vast space of the hall as they can never do in the recordings we use to learn and casually listen to the Ring. And too the vast spaces of the War Memorial allowed huge fortes to roll forth, immersing the hall in mighty sound, Even the quirks of the hall contributed, its “golden horseshoe” overhang magnifying the eight horns and double timpani for those of us seated on the right side of the orchestra.

The careful musical exposition was subject to the largest arc of Wagner’s myth, the orchestral climax of the entire Ring occurring about sixteen hours into it, only at the end of the second act of Götterdämmerung when Mo. Runnicles unleashed it all for Brünnhilde’s pact with Hagen to murder Siegfried. This Ring was bigger than its pieces, and we understood that the usual frenzy we missed at the conception of Siegfried was measured against the hugely complex dilemma of his death.

It is futile to discuss the concept of the production, San Francisco Opera touting it as “an American Ring.” There were indeed vibrant American images, like redwood trees. like American industrial wastelands, but the Gibichung headquarters was well beyond the 1930’s American skyscrapers director Francesca Zambello cites in her program book apology, and much more on the scale of Austrian expressionist Fritz Lang’s immense Metropolis of his 1927 film. And too the light green behind Brünnhilde’s fire seemed more like a weird color choice that an evocation of escaping industrial gases.

Gott-DR2-3.gifMelissa Citro (Gutrune), Andrea Silvestrelli (Hagen) and Gerd Grochowski (Gunter)

All these specific images however quietly dissolved into the careful storytelling that was the hallmark of the Zambello production. Not a musical motive was left without a corresponding movement on the stage, no musical interludes were left on an abstract imaginative level but accompanied by moving projections — clouds, water, trains, fire, more clouds, etc. It was a fully illustrated Ring (take it or leave it) that (if you took it, and that took a while) eased you, even gracefully, inside the Ring’s musical universe.

It was an easy, engaging Ring that deflated Wagnerian philosophical pomposity at every turn with surprising, sometimes funny twists — Alberich attached to his homeless supermarket cart searched for Faftner with infrared binoculars, the forlorn Rhine maidens hopelessly picked up plastic bottles from a dried up river bed, beer guzzling buddies who were actually sworn enemies downed cases. Not to mention the purely comic book, utterly delightful visuals for Fafner and Fasolt, or the Valkyries parachuting onto the rocks of Valhalla (this image said to have been borrowed from a Swedish commercial for a detergent powder).

Finally the Zambello Ring maybe even arrived at tongue-in-cheek with the black covered Arab-esque women cowering in the wake of their men, black uniformed fascistic soldiers of Hagen’s evil army. Not to intimate that Mme. Zambello did not somehow make all this bring Wagner alive. She did.

Gott-DR2-9.gifNina Stemme (Brünnhilde), Andrea Silvestrelli (Hagen), Ian Storey (Siegfried) and Ensemble

San Francisco Opera promoted a number of seminars to accompany its Ring, Anti-Semitism was a big topic, though it was put in succinct perspective by the Mime of the production, David Cangelosi who rhetorically asked “haven’t we turned the page on all that?” Distinguished lecturers examined the Ring in Schopenhauerian terms, a former Buddhist monk delineated the Ring’s roots in Buddhism. The most convincing of the philosophical analogies described the Ring in purely Sartrean Existential terms. (I might also mention a concert of Wagner transcriptions on the 5000-pipe organ of St. Mary’s Cathedral — the Ride of the Valkyries executed by four hands and four feet and those 5000 pipes).

Well, none of that for the San Francisco Ring. While there were two real dogs portraying wolves, a bear played by a real man and a number of fantastic and dead animals involved, there was no horse at all for Brunnhilde to ride into the flames. The flames were fed by the downtrodden Gibichung women and the Rhine maidens throwing the plastic bottles picked up from the riverbed (tossed there by males in the context of this production). Gutrune, a male-victimized “moll” embraced Brünnhilde and we understood that she was redeemed. Photographs of the fallen heros rescued by the Valkyries showered down and at last a young girl planted a tree. Mo. Runnicles had had his fun with the murder pact, the usually spectacular ending instead was musically rather resigned.

This was not a minimal Ring created by veteran opera designer Michael Yeargan. There were four superimposed prosceniums and a sentient floor (lighted from underneath) that served as the stage mechanism for the Wagner mega-drama, with full stage screens flying in and out at all depths of the stage to capture the inexhaustible catalogue of projections developed by Jan Hartley and her associates. If the freeway interchange under which Wotan saw Siegmund die and where he murdered Hunding was not life size it seemed so. Hunding’s mountain cabin was as good as real as was Mime’s wrecked Airstream trailer.

What, you may ask, held all this together. It was the Brünnhilde of Swedish soprano Nina Stimme who brought bonafide Teutonic style to rock solid vocal production and muscular physicality to her indefatigably energetic Valkyrie. This Ring was Brünnhilde’s personal story, placed in even higher relief by the pallid portrayal of Wotan by American bass Mark Delavan, a performance that effaced the Wagnerian complexities and emotional stature of this human father cum transcendent being. The suspicion lurks that this was the intention of Zambello, a suspicion founded on the portrayal of Siegfried as one step above the village idiot, charmingly rendered by Jay Hunter Morris in Siegfried, and less vividly but vocally far more convincing by English tenor Ian Storey in Götterdämmerung.

Gott-DR2-14.gifLauren McNeese, Renée Tatum and Stacey Tappan (The Rhinemaidens).

There were several performances that stood out among the universally good performances of the entire cast. The Siegmund of American tenor Brandon Jovanovich was disarmingly charismatic and Italian basso Andrea Silvestrelli created Zambello’s arch villain Hagen with supreme testosterone gusto. American tenor David Cangelosi as Zambello’s creepy hobo Mime succeeded in making the first two acts of Siegfried high points (well, among many) of the entire cycle.

San Francisco Opera does not seem to have been a competitor in who-can-spend-the-most-for-a-Ring contest. Still, there went a pile of gold. One assumes costumer Catherine Zuber was well rewarded for what was an heroic and immensely successful effort, as was the complex lighting of Mark McCullough — both seasoned opera pros, like Zambello and Yeargan and their supporting teams.

It was not a prestigious Ring, like the Aix Ring with the Berlin Philharmonic in the pit (by the way with the six harps Wagner requires — San Francisco made do with two) with its elegant, minimalist staging by Stéphane Braunschweig. It was not an arty Ring imagined in a rarefied visual language like the splendid L.A. Achim Freyer Ring, nor was it a big, international house Ring with proven big name interpreters and the flavor-of-the-day producer (by the way that would be the Robert Lepage Ring at the Met).

The San Francisco Ring was a good Ring, if a wacky one that seemed at times like it might even be a spoof. It was however, perhaps therefore absolutely understandable. The experts may debate how it betrayed or illuminated Wagner’s musico-philosophic treatise, but they too will admit that those seventeen hours in the War Memorial Opera House were full of fun and richly rewarding.

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):