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

Bampton Classical Opera: Bride & Gloom at St John's Smith Square

Last week the Office of National Statistics published figures showing that in the UK the number of women getting married has fallen below 50%.

A new recording of Henze’s Das Floß der Medusa

Henze’s Das Floß der Medusa is in some ways a work with a troubled and turbulent history. It is defined by the time in which it was written – 1968 – a period of student protest throughout central Europe. Its first performance was abandoned because the Hamburg chorus refused to perform under the Red Flag which had been placed on stage; and Henze himself decided he wouldn’t conduct it at all after police stormed the concert hall to remove protesters, among them the librettist Ernst Schnabel.

La traviata at the Palais Garnier

The clatter of information was overwhelmed by soaring bel canto, Verdi’s domestic tragedy destroyed by director Simon Stone, resurrected by conductor Michele Mariotti, a tour de force for South African soprano Pretty Yende.

San Jose Pops the Cork With Fledermaus

Opera San Jose vivaciously kicked off its 2019–2020 season with a heady version of Strauss’ immortal Die Fledermaus that had all the effervescence of vintage champagne.

Tempestuous Francesca da Rimini opens Concertgebouw Saturday matinee series

Two Russian love letters to the tragic thirteenth century noblewoman Francesca da Rimini inaugurated the Saturday matinee series at the Concertgebouw.

Immortal Beloved: Beethoven Festival at Wigmore Hall

So long as men can breathe or eyes can see,

So long lives this, and this gives life to thee.

Stars of Lyric Opera at Millennium Park 2019

Lyric Opera of Chicago presented this year’s annual concert, Stars of Lyric Opera at Millennium Park. The evening’s program featured a range of selections from works to be presented in the 2019–2020 season along with arias and scenes from other notable and representative operas.

Prom 74: Uplifting Beethoven from Andrew Manze and the NDR Radiophilharmonie Hannover

Ceremony, drama and passion: this Beethoven Night by the NDR Radiophilharmonie Hannover under their Chief Conductor Andrew Manze had all three and served them up with vigour and a compelling freshness, giving Prommers at this eve-of-Last-Night concert an exciting and uplifting evening.

Prom 69: Elena Stikhina’s auspicious UK debut in a dazzling Czech Philharmonic concert

Rarely can any singer have made such an unforgettable UK debut in just twelve minutes of music. That was unquestionably the case with the Russian soprano, Elena Stikhina, who in a performance of Tchaikovsky’s Letter Scene from Eugene Onegin, sang with such compelling stage magnetism and with a voice that has everything you could possibly want.

Prom 68: Wagner Abend - Christine Goerke overwhelms as Brünnhilde

Wagner Nights at the Proms were once enormously popular, especially on the programmes of Sir Henry Wood. They have become less so, perhaps because they are simply unfashionable today, but this one given by the Royal Philharmonic Orchestra and Marc Albrecht steered clear of the ‘bleeding chunk’ format which was usually the norm. It was still chunky, but in an almost linear, logical way and benefited hugely from being operatic (when we got to the Wagner) rather than predominantly orchestral.

Prom 65: Danae Kontora excels in Mozart and Strauss

On the page this looked rather a ‘pick-and-mix’ sort of Prom from the Deutsche Kammerphilharmonie Bremen under Greek conductor Constantinos Carydis, who was making his Proms debut. In the event, it was not so much a Chinese take-away as a Michelin-starred feast for musical gourmands.

British Youth Opera: Rossini's La Cenerentola

Stendhal (as recorded in his Life of Rossini) was not a fan of Rossini’s La Cenerentola, complaining that after the first few bars of the Introduzione he was already suffering from a ‘faint feeling of nausea’, a condition which ‘never entirely dissipated, [recurring] periodically throughout the opera, and with increasing violence’.

La traviata at the Arena di Verona

There is esoteric opera — 16,500 spectators at this year’s Rossini Opera Festival in Pesaro, and there is pop opera — upwards of 500,000 spectators for the opera festival at the Arena di Verona, one quarter of them for an over-the-top new production of La traviata, designed and directed by Franco Zeffirelli.

Sir John Eliot Gardiner brings Benvenuto Cellini to the Proms

Berlioz' Benvenuto Cellini is quite rarity on UK stages. Covent Garden last performed it in 1976 and English National Opera performed it for the first time in 2014 (in Terry Gilliam's riotous production), and yet the opera never quite goes away either.

Prom 58: varied narratives from the BBCSSO and Ilan Volkov

There are many ways and means to tell a story: through prose, poetry, sounds, pictures, colours, movement.

Prom 53: Elgar’s emotionally charged Music Makers

British music with an English and strong European accent marked this Prom featuring three well-wrought works, stylistically worlds apart but each characterised by a highly individual musical personality.

Scoring a Century: British Youth Opera at the Peacock Theatre

‘It is well known that Eisler was a master of the art of self-contradiction, using non-sequitur, change of tack and playing devil’s advocate in a brilliantly ironic way in an attempt to look at a problem from every angle, to expose it fully to the gaze of his interlocutor. For an ordinary person to take part in this, let alone keep up with the pace and fully appreciate the wide range of references, which his enormous reading threw out, was wonderfully stimulating, and exhausting.’

Prom 55: Handel's Jephtha

‘For many it is the masterpiece among his oratorios.’

Opera della Luna's HMS Pinafore sails the seas at Wilton's Music Hall

The original production of HMS Pinafore opened at the Opera Comique in London on 25th May 1878 and ran for an astonishing 571 performances. Opera della Luna’s HMS Pinafore, which has been cresting the operatic oceans for over twenty years now, has notched up almost as many performances.

Spectra Ensemble present Treemonisha at Grimeborn

‘We see him now as one of the most important creators of his generation, certainly comparable to Schoenberg.’ T.J. Anderson, who reconstructed the score of Scott Joplin’s only surviving opera, Treemonisha, for its first staged production in 1972, was probably rather over-enthusiastic in his assessment.

OPERA TODAY ARCHIVES »

Reviews

02 Oct 2018

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Siegfried: Royal Opera House, Covent Garden, 29th September 2018

A review by Marc Bridle

Above: Stefan Vinke as Siegfried and Gerhard Siegel as Mime.

Photo credit: Bill Cooper

 

Keith Warner’s production, however, remains somewhat troubling; one can spend more time trying to unravel the allusions, the meanings behind the clutter, the complex perceptions of comedy and tragedy than would be wise for any sane man.

Der Ring Des Nibelungen is all about interconnectivity and Warner’s direction attempts to establish this, even in esoteric ways. The toy aeroplane from Das Rheingold, for example, is transformed in Siegfried as the curtain rises into the wrecked fuselage of a stripped down, much larger aeroplane. As with much of the imagery here it’s symbolic - just as a sword rises from a wrecked pram during the Vorspiel, so Wotan, disguised as the Wanderer, does so from the broken shell of the cockpit. But why there should be an aeroplane here at all is quite another question. As with much of Wagner, time is constantly in a state of flux; motifs come and go, and Warner does the same with his imagery. Act III of this Siegfried floats moving clouds against a wall but it’s the perspective that is different and looks back towards Act I. Rather than looking two-dimensional, the angle gives the impression of floating through clouds, rather as you’d experience from a plane as we recall the wreckage from earlier. For a fleeting moment, you’re reminded of Leni Riefenstahl’s Triumph of the Will. The sprawling algebraic equations before Act I begins make little sense - both as to their meaning and why they should be there - but when we get to Act II, as Siegfried confronts Fafner, the Tarnhelm itself is nothing but an algorithmic Rubik’s Cube.

Bill Cooper SV Siegfried(1).jpgStefan Vinke as Siegfried. Photo Credit: Bill Cooper.

Paradoxes abound in Siegfried. It’s a comedy within a tragedy; it’s about the transition of the world of Wotan and the Gods into the redemptive vision of love he has for Siegfried and Brünnhilde, the old order giving way to a new order. If the downfall of the Gods is seen as inevitable, the calamity that will become the tragedy of the final opera isn’t foreseen. Warner’s take on this in Siegfried isn’t really clear - other than the biggest paradox of all in that Wotan is placing his faith for a new future in a Siegfried who is clearly unsuitable.

The comedy in this Siegfried is surprisingly restrained. Warner takes a notably neutral standpoint characterising his Mime, for example. Gerhard Siegel, returning to this production, is magnificent, both vocally and dramatically. Balance becomes an art form in his purely theatrical characterisation of the role - in no sense could one suggest this is a caricature of the part, as can so easily happen. Warner makes a distinction between comedy and making his Mime a clown - Siegel is every part a malevolent dwarf, part mad scientist, as untidy and living amid his clutter as he is scheming and hollow of emotion. He howls, groans, screams and whines. He’s intemperate and evasive. Siegel’s long scenes with Stefan Vinke’s Siegfried are wonderfully complementary: There is a real sense of spontaneity between these two singers, and the humour unfolds without feeling forced.

Cooper SV Siegfried.jpgStefan Vinke as Siegfried. Photo Credit: Bill Cooper.

Stefan Vinke’s Siegfried is so extraordinarily convincing - this is after all the 100th time he has sung the role - you often feel he is the Siegfried of our time. With his patched-up army fatigues and leather battle vest, there is a punkish, roguish side to him that Warner is more than willing to explore. There is a boundless energy to this Siegfried - he hops over discarded mattresses, jumps back and forth over barbed wire fences and brandishes his newly forged sword like a warrior. He’s as crusty as he is anarchic; but there is a seething unpretentiousness and innocence as well. One minute he is cracking an egg over Mime’s forehead; the next he is forging his sword. He transforms from a boy into an all-knowing grease-monkey who can work the aeroplane’s propellers to set the forge working and attach pumps to fuel the flames. Does Warner make this all seem incredulous? Well, yes, he does. This Siegfried seems entirely schizophrenic. On the other hand, this is a Siegfried who is all but immune to any manifestation of physical danger or fear. Siegfried’s battle with Fafner, and his transformation into a dragon, might be considered partly comic - but Warner makes Vinke’s Siegfried take his cue from Wagner’s music, with all the darkness it portrays, rather than the literal humour the libretto suggests.

But Vinke’s Siegfried is another paradox in this production too. The heroism of Act II at the foot of Fafner’s cave is a correction to the beguiling innocence of his woodland scene with Heather Engebretson’s acrobatic Woodbird. But innocence can easily become petulance; he becomes frustrated by his inability to make a sound from the reed he has made. In Act III, Warner completely subverts the balance of love versus power that Wotan has imagined for Siegfried and Brünnhilde. This isn’t exactly a vision of Siegfried who will emerge from the Volsungs to triumph over the power of the Gods. Siegfried the punk is too radical to embrace the concept of love - his reticence as he awakens Brünnhilde is borne of childlike shyness. Even the lighting of this scene cleverly suggests it’s full of apprehension and unknowingness. Warner literally tosses the concept of love into the flames. But even when Nina Stemme’s magnificent and imposing Brünnhilde emerges we don’t get the inklings of a consummation but a game of cat-and-mouse. Warner keeps them apart, on opposing sides of a grey wall. They are literally and figuratively a world apart, Brünnhilde’s ecstatic dialogue - so searingly sung by Stemme - almost falling on Siegfried’s deaf ears. As Siegfried throws himself onto Brünnhilde at the opera’s very end it’s as charmless as the filthy mattress itself.

Brindley Sherratt as Fafner , Stefan Vinke as Siegfried (C) Bill Cooper.jpg Brindley Sherratt as Fafner and Stefan Vinke as Siegfried. Photo Credit: Bill Cooper.

Even withstanding the complexity of ideas in this production, and the somewhat wilful direction, there is much that stands out as exceptional. You can never escape the underlying tension and anger that characterises much of this Siegfried: I lost count of the number of times a chair was thrown somewhere around the stage. Antonio Pappano’s gripping conducting of the score is so extraordinarily visual, so seismic and visceral at times, that it mirrors the staging to perfection. His pacing of the score may be fast for some listeners but it seemed near-perfect to me. Only briefly, notably in Act II, did the outstanding Royal Opera House Orchestra wobble or have issues with intonation. Vinke’s hammering in the Act I forging scene is breathtakingly musical and is replicated in the timbre of the orchestra, too; it is not always like this in staged performances of Siegfried. I don’t think I’ve ever seen a more dramatic Vorspiel than the one we got to the opening of Act III. Pappano’s very brisk, fiery tempo was electrifying, but combine this with Wotan angrily tossing a mattress and whatever else he could get his hands on from a rotating platform and the effect was unforgettable. If the earth goddess Erde being wheeled in on a high throne seemed perhaps a touch clumsy, the orchestra was as dark as Wiebke Lehmkuhl’s gorgeously plush voice. John Lundgren’s Wanderer had every reason to struggle while singing on a revolving platform but he didn’t. The voice remained as rich, dark and focused as it had from his first appearance in Act I. His Riddle Scene with Mime was full of mystery. Johannes Martin Kränzle’s Alberich resonated evil, and Brindley Sherratt’s Fafner had a dark tone that cracked like thunder.

Vinke Nina Stemme as Brunnhilde.jpgNina Stemme as Brünnhilde and Stefan Vinke as Siegfried. Photo Credit: Bill Cooper.

Nina Stemme’s Brünnhilde has grown into one of the great dramatic performances. It isn’t just that the voice has such tremendous range, it’s now that she believes entirely she can equal the complexity of the role. The evenness of tone, the ability to be both lyrical and dramatic is very impressive. She fortunately lacks the hardness of inflection that sometimes marred a Nilsson performance - Stemme’s Brünnhilde is quite notable for being exceptionally warm in tone, but she is equally merciless in keeping the line clean.

Stefan Vinke’s Siegfried is simply peerless. Casting Siegfried is always a problem but Vinke has everything you could ask for in a great Siegfried. Certainly, when I heard him take on the part early in his career there were times you felt he lacked the stamina to see it through; that is unquestionably not the case today. That he had such reserves of power to give with Stemme such an overwhelming final duet was remarkable. So much of Siegfried lies in the higher part of the voice that it’s easy for a tenor to become lazy but Vinke has a laser-sharp power to his upper range which enables him to sustain a note effortlessly. Nothing felt clipped; you didn’t feel that there were any shortcuts. There is also beautiful clarity and tonal richness to this voice as well - it’s honeyed, golden, entirely even for a Wagner tenor. I think I’d be hard pressed to hear a better performance of Siegfried from anyone else than the one we got here.

From a vocal, musical and artistic point of view this Siegfried was one of the great evening’s at Covent Garden in many years.

Marc Bridle

Richard Wagner: Siegfried

Stefan Vinke - Siegfried, Nina Stemme - Brünnhilde, Gerhard Siegel - Mime, John Lundgren - Wanderer, Johannes Martin Kränzle - Alberich, Brindley Sherratt - Fafner, Wiebke Lehmkuhl - Erda, Heather Engebretson - Woodbird; Keith Warner - Director, Antonio Pappano - conductor, Stefanos Lazaridis - Set Designer, Wolfgang Göbbel - Lighting, Orchestra of Royal Opera House.

Royal Opera House, Covent Garden, London; 29th September 2018.

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):