Mainly Opera and Ballet
To say that this new Ring at Bayreuth never quite settles down is to put things politely. The young director Valentin Schwarz has lots of ideas, but they never really gel. There is no coherent vision bringing them all together. To put it bluntly his efforts are a failure — see my review in The Article.
No gold. No Ring. This new production at Bayreuth has offended almost everyone, but contains interesting ideas while departing from Wagner’s story in many ways. For example it is not Hunding who kills Siegmund, but Wotan himself. Sieglinde is already pregnant when Siegmund encounters her. Oh, and Wotan and Alberich are twin brothers! My review …
This marvellous Claus Guth production, first staged at La Scala in 2012, and at Covent Garden three years ago, has now found its way to Berlin under the baton of Zubin Mehta, who produced a terrific performance of Richard Strauss’s score, with its combination of gentle chamber episodes with mighty moments of emotional transformation. Despite …
When the Rheinmaidens playfully tease Siegfried at the start of Act II, their musical movements were far better than the unmusicality of the irritatingly intrusive dancers, who reappeared in this final part of The Ring. Their manipulation of silk sheets was fine, but this is the first time I have seen opera ladies move more gracefully …
The first two operas of this cycle experienced slight problems: orchestra lights failed a couple of times during Rheingold, and stage backdrop lighting flashed and failed in Walküre. But Siegfried saw a more serious disruption when the eponymous hero failed to show up for Act I. Why, we were not told, but the role was admirably …
What a spectacular ending to Act III this was, equalled in my recent memory only with Barenboim in the same production at La Scala in December 2010. His sensitive handling of the orchestra framed those hugely gentle scenes between the sympathetic Wotan of René Pape and the intensity of Iréne Theorin as his daughter Brünnhilde, when …
On this first night of the 2009 Bayreuth festival, under the new direction of Eva Wagner-Pasquier and Katharina Wagner, we had the singers for the parts, but not the parts for the singers in this wretched production.
