All talk of Robert Lepage’s production of the Ring Cycle at the
Met remains about the sets and videos, and there’s no denying their
fascination. Storm clouds turn into a brilliant snowstorm, simple planks
transform into a dense forest of trees, and later into horses on which the
Valkyries ride. Molten rocks, snow-capped mountains, all-consuming
flames: it’s all quite stunning. But the problem is that it is also
distracting. Instead of getting involved with the music, one ends up
wondering what the set will do next. In addition, Lepage has forgotten to
actually direct his singers at times, giving them very little to do.
Bryn Terfel’s Wotan is physically as imposing as a Colossus and his
dramatic instincts are superb. Jonas Kaufmann as Siegmund pays
attention to every nuance, every change in the volatile atmosphere of the
first act. The voice is capable of exquisite, sweet singing and powerful
outbursts. Eva-Marie Westbroek seems to be holding back as
Sieglinde. Hans-Peter König is a wonderfully evil-sounding Hunding.
Stephanie Blythe’s Fricka, rolled in on a throne adorned with ram’s horns,
almost steals the show, with her authority and grand tone. She actually
breaks into tears at one point – the epitome of manipulation – and husband
Wotan gives in.
Deborah Voigt, singing her first Brünnhilde, is
simply wrong for the part. The voice has lost its warmth, edgy at the top,
and the mid-range was never strong.
James Levine, leading the
glorious Met Orchestra, has trimmed a few minutes off the first and last act
from his last outings with this opera, and the new sweep is welcome, keeping
the audience riveted.
Robert Levine’s full review of Die Walküre will appear in our