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Limelight Magazine, Jan 30, 2013 |
By Clive Paget |
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Wagner: Der Ring Des Nibelungen (Metropolitan Opera DVD) |
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Does the Met's ambitious Ring Cycle live
up to the hype? |
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Staging
Wagner’s epic four-part Der Ring Des Nibelungen is the greatest challenge
that an opera house can face. The Met’s latest effort, staged by Canadian
director Robert Lepage, has been taken out of the opera house and into
cinemas all over the world, and is now available in an 8-DVD set. The live
performances have taken a bit of a critical battering so how does the
small-screen release stack up?
First of all, the positives: this is
the best looking, best sounding and generally one of the best sung Ring
Cycles that you will find. The high-definition picture is breathtaking in
its clarity, while the sound is beautifully engineered to give a wide,
natural perspective. The singers have clearly all been miked and every word
comes over loud and clear, regardless of stage position or volume of
orchestra. The conducting is of a high level, too, with James Levine’s 40
years of experience paying dividends in Das Rheingold and Die Walküre, while
Fabio Luisi is a solid substitute in Siegfried and Götterdämmerung.
Lepage’s brief was to produce something traditional enough to satisfy the
Met’s conservative support base while utilising his reputation for visual
wizardry to realise Wagner’s dream for the 21st century. In response, he
came up with “The Machine”, 45 tons of rotating metal that can be configured
in numerous ways to create the Ring’s demanding range of locations. It’s an
impressive affair, and its ability to take projections results in some
extraordinary visual effects. Highlights include a breathtaking Rhine
Journey for Siegfried (plus horse), a rollicking Ride of the Valkyries and
some beautiful natural settings: lava-riven rocks in Die Walküre and
Siegfried’s dappled, watery forests.
Unfortunately, having come up
with his “big idea”, Lepage frequently lets “The Machine” tie his hands
rather than free them up. Lepage is also guilty of failing to trust Wagner’s
music and his experienced cast. On several occasions he can’t resist moving
“The Machine” when the music requires stillness. Similarly, his busy
projections are inclined to distract from the singers. Luckily, the camera
work minimises what in the theatre must have been fairly irritating.
Finally, many of his Disney-style costumes verge on pantomime with too much
PVC and glitter. Alberich and Fricka are prime victims here but there are
other examples.
Lepage is blessed with a cast in which the majority
are capable of transcending these limitations. Bryn Terfel is the mainstay
of the first three operas and his Wotan is excellently sung, growing in
stature as the cycle progresses. A baritone rather than bass-baritone, what
he lacks in depth he makes up for in ringing top notes, and his
interpretation of the text is individual and compelling. Eric Owens is his
nemesis Alberich, and here is another superb voice, the dark and powerful
complement to some fine acting. Stephanie Blythe as Fricka is in fine voice
but her physicality is desperately limited. By Die Walküre, the poor thing
arrives in a ram’s-headed mobility aid and apparently has lost the use of
her legs! Richard Croft’s Loge is smoothly sung but, a couple of stage
gimmicks aside, he lacks the trickster spark.
As Brünnhilde, Deborah
Voigt is an experienced singer with a strong rapport with Terfel, but she is
now vocally past her prime. She still has some exciting top notes to offer
but at other times the voice sounds pinched. Die Walküre brings a
tremendously sung Siegmund in Jonas Kaufmann, only marred by a costume that
makes him look like an elf from The Lord of the Rings. With heroically
ringing tone, solid top notes and an intense engagement with text, his
performance would be hard to better. Singing opposite as Sieglinde
is Eva-Maria Westbroek, who has all the notes but somehow fails to take
flight. Hans-Peter König is an imposing Hunding, but a limited actor. The
Valkyries are uniformly superb, several out-singing Brünnhilde.
By
Siegfried, the production hits its stride. Our hero is sung by Jay Hunter
Morris, a good-looking young man with plenty of stage presence and bags of
enthusiasm. His voice is not particularly beautiful, but he has all the
notes and makes it through to the end with a bit to spare. Sadly, by this
stage Voigt is struggling to keep on pitch and her final top C is painful.
Gerhard Siegel’s cartoonish, humpbacked Mime sacrifices menace for funny
business. For all the Met’s technical resource, the dragon looks like a
snake out of The Jungle Book. Erda is ravishingly sung by Patricia Bardon,
her scene with Terfel a dramatic highlight of the entire cycle.
Götterdämmerung is a fitting climax to the cycle and finds Lepage using his
technical resources more sensitively, notably in a stunning visual scene for
the Norns. Hans-Peter König is a rich, resonant Hagen but he is too dull an
actor to capture the character’s brooding malevolence. Waltraud Meier acts a
mean scene as Waltraute, despite being past her vocal sell-by date.
If this is your first Ring and you want the story, the whole story, there is
a great deal to enjoy here, not least that it looks and sounds a million
dollars. If you want deeper insight into the richest operatic experience so
far devised by man, try Patrice Chereau’s on DG. |
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