Der Ring des Nibelungen<\/em>, Richard Wagner<\/p>\nSecond Cycle<\/p>\n
State Theatre, Melbourne
\n27 November – 4 December 2013<\/p>\n
During November and December Opera Australia presented the first staging of Wagner\u2019s Ring<\/i> on the east coast of Australia for 100 years.\u00a0 The individual operas of the first cycle have been perceptively reviewed on this website by Heather Leviston and also extensively in other media, but the completion of the second cycle provides an opportunity to assess the cycle as a whole.<\/p>\n
The State Theatre has one of the largest stages in the world, and its 2000 seats were fully occupied throughout the second Ring cycle.\u00a0 The theatre is mostly built underground so the descent of 100 steps to the main stalls level was an apt preparation for the opening of Das Rheingold<\/i> at the bottom of the Rhine.\u00a0 There is no mobile phone reception down here, not even from the foyers, and certainly no water views \u2013 not even of the Yarra.<\/p>\n
For a visiting Sydney opera-goer the initial impression was of the vastly clearer orchestral sound which emerges cleanly from the State Theatre\u2019s open pit.\u00a0 The auditorium has a somewhat dry acoustic, without the warmth of European horseshoe shaped houses.\u00a0 Nevertheless, the wonderful orchestra sound contrasts dramatically with the constrained sound that struggles to emerge from the constricted pit in the Sydney Opera House.<\/p>\n
The Melbourne Ring Orchestra is based on Orchestra Victoria but augmented to over 130 musicians by excellent players from around the country who were reportedly vying to be included among the additional forces required.\u00a0 The result was superb and the orchestral playing was a highlight of this Ring presentation.\u00a0 The large number of strings produced a rich, full sound and the wind section displayed some wonderful playing, especially from the section principals.\u00a0 The brass produced some marvelously rounded sounds and the occasional small blemishes did not detract from their full and strongly characterised contribution to the orchestral fabric.\u00a0 The Wagner tubas made a wonderfully sonorous contribution, especially when underpinned by the resonant bass tuba.\u00a0 This was particularly glorious whenever the Valhalla motif recurred.\u00a0 A minor downside to the open orchestral pit and clear acoustics of the auditorium, however, was reduced orchestral blend in soft passages.\u00a0 For example, the entry of the horns in the opening of the Rheingold<\/i> prelude lacked the mysterious remoteness required at that point.<\/p>\n
The orchestra was under the inspired conducting of Pietari Inkinen who judiciously provided the ebb and flow needed to bring the score to life.\u00a0 Several reviewers of the first cycle considered that Inkinen\u2019s tempi were a little slow, but this did not seem to be the case during the second cycle.\u00a0 There are detailed records of the length of many Wagner performances and the durations for the second cycle were within the middle range of typical timings (for example, the famous Solti recording); indeed most of Inkinen\u2019s times were marginally faster than those of the 1876 Bayreuth premieres under the watchful eye of Wagner himself.<\/p>\n
The recent high musical standards of Opera Australia left little doubt that the singing for the Ring cycles would be excellent, and so it proved to be.\u00a0 There was not a single weak link in the large cast.\u00a0 Among the many outstanding performances, Stefan Vinke (Siegfried) must first be mentioned for the amazing stamina he displayed in perhaps the most strenuous tenor part ever written.\u00a0 At no time did he seem to be holding back or saving himself for later. Even in the last act of G\u00f6tterd\u00e4mmerung<\/i> he had sufficient vocal energy to lengthen a top C which is written as a quaver. It was sustained heldentenor singing at its most exhilarating.<\/p>\n
The Siegmund of Stuart Skelton was also superb heldentenor singing.\u00a0 It was thrilling but also sensitive and captured well the changing moods of the character.<\/p>\n
But perhaps the most outstanding performance of the cycle came from the Alberich of Warwick Fyfe.\u00a0 Not only was it excellently sung but the characterisation which Fyfe developed was spellbinding in its detail.\u00a0\u00a0 His use of the text was riveting in the way he revealed Alberich\u2019s thought processes.\u00a0 An unforgettable performance!<\/p>\n
Among the other main singers, Terje Stensvold\u2019s Wotan was well sung but initially rather low-key.\u00a0 He seemed to gain in authority as the cycle progressed and his Wanderer was very impressive.\u00a0 His farewell to Br\u00fcnnhilde was also intensely moving.<\/p>\n
Susan Bullock\u2019s Br\u00fcnnhilde was an engaging interpretation \u2013 an energetic tomboyish portrayal.\u00a0 Bullock\u2019s voice does not have the firm tonal centre which is ideal for the role, but she sang with great energy and characterisation.\u00a0 Unfortunately, she had a tendency to sing directly to the audience rather than the person she is addressing.<\/p>\n
All the other principal roles were excellently filled.\u00a0 The Rhinemaidens (Lorina Gore, Jane Ede and Dominica Matthews) looked superb and sang equally well.\u00a0 The Fricka of Jacqueline Dark was superbly dramatic.\u00a0 She delivered a frosty stare that would even outdo our current Minister for Foreign Affairs.\u00a0 Richard Berkeley-Steele portrayed Loge with a nicely whimsical, nonchalant air, but needed time to produce his best singing.\u00a0 Jud Arthur was an intimidating hulk as Hunding and very moving as the dying Fafner.\u00a0 Miriam Gordon-Stewart was very well suited to the role of Sieglinde and gave an affecting portrayal.\u00a0 She sang and acted the role extremely well and looked excellent on stage.<\/p>\n
Also memorable were Deborah Humble\u2019s stern Erda and her impassioned Waltraute, Graeme Macfarlane\u2019s blokey Mime presiding over a bogan household and Taryn Fiebig\u2019s delightful birdseed-eating Woodbird.<\/p>\n
In G\u00f6tterd\u00e4mmerung, the Norns (Elizabeth Campbell, Jacqueline Dark and Anke H\u00f6ppner) established an appropriately gloomy atmosphere for the final chapter of the saga.\u00a0 Barry Ryan sang strongly in presenting a likeable Gunther and Sharon Prero projected Gutrune as a rather feckless bimbo.\u00a0 Daniel Sumegi\u2019s imposing Hagen was clearly a master manipulator of events until just before the end.\u00a0 In Das Rheingold<\/i>, however, he missed the lyricism that is so important in the role of Fasolt.<\/p>\n
The chorus appears only briefly but they sang gloriously and acted convincingly as individuals, each with their own reaction to the roll-out of events.<\/p>\n
Thus musically, the results were superb; but what about the production?\u00a0 Here, it was more controversial.\u00a0 Wagner\u2019s objective in creating his Gesamtkunstwerk<\/i> was to meld all aspects of a performance into a unified whole, and it is here that this production falters.\u00a0 It missed finding a dramatic or scenic unity that should fuse the cycle into something more than four individual operas standing alone.<\/p>\n
Neil Armfield and his set designer, Robert Cousins, conceived the cycle as a parable for modern times and this was reinforced by the costumes of Alice Babidge who devised clothes which might be worn today.\u00a0 The production contained many brilliantly original insights and new perspectives and many inspired ideas and impressive inventions.\u00a0 Regrettably, some of these were left hanging in the air rather than being followed through in subsequent operas.\u00a0 Most of the scenes consisted of an empty black stage with a defined acting space located within it.\u00a0 In Siegfried<\/i> these spaces were defined by a false proscenium and in G\u00f6tterd\u00e4mmerung<\/i> by a house-frame, but they were not related to each other nor to anything in the previous two operas. The lighting generally enhanced the mood of the production, but there were several occasions when the principal spot light was momentarily blocked by the rotating set, distracting attention from the focus of the action.<\/p>\n
But there were many superb production moments.\u00a0 For the first appearance of the Rhine gold the one hundred extras who were on the stage magically produced shimmering gold, apparently from nowhere and the entire stage glistened.\u00a0 More controversial was the rainbow bridge at the and of Das Rheingold<\/i> where an enormous stairway at the back of the stage was flanked with blond showgirls waving giant feather fans in every colour of the rainbow, their choreography preparing the way for the gods to enter Valhalla.\u00a0 Initially this seemed a shocking idea, but it actually worked beautifully as a new concept of what a rainbow bridge might be.\u00a0 Even more radical were the serpent and toad transformations in the same opera.\u00a0 These were realised as though they were the acts of a magician at a circus sideshow.\u00a0 Some members of the audience saw it as a novel metaphor for the intrinsic deceitfulness of the tarnhelm \u2013 others were not convinced and thought it simply shirked the tarnhelm problems.<\/p>\n
In Die Walk\u00fcre<\/i>, Hunding\u2019s claustrophobically tiny hut emphasised the misery of Sieglinde\u2019s life and the emotional and physical restrictions placed on her.\u00a0 It also emphasised that her interactions with Siegmund, which occur outside the hut, were a release from this enclosed world.\u00a0 In the second Act of Die Walk\u00fcre<\/i> a giant spiral walkway linked Valhalla with the earth and served as a highly dramatic path for entrances and exit.\u00a0 It is a pity that the fight at the end of the act misfired dramatically because the position of the walkway masked the action, and Br\u00fcnnhilde and Wotan were so poorly visible.\u00a0 The stage for the last act was mostly bare, focusing attention onto the music and the dramatic interaction between the characters, which worked very well because of the poignant bond between Br\u00fcnnhilde and Wotan.<\/p>\n
A highlight of Siegfried<\/i> was the treatment of Fafner in the second act.\u00a0 Instead of being turned physically into a dragon, the act opened with Jud Arthur applying theatrical makeup to assume the persona of a fairytale monster, and this was projected onto a giant screen at the back of the stage.\u00a0 Then, when Siegfried confronts Fafner he plunges into a dark black hole vividly depicting the fear of the unknown.\u00a0 The mortally wounded Fafner then emerges, blood-stained and completely naked: he has lost everything, including his fierce disguise, and is now a pitiable dying man.\u00a0 It was intensely dramatic and very moving.<\/p>\n
But alongside the many superb production feats there were regrettably too many ideas which simply backfired or left the audience completely mystified.\u00a0 Disappointingly, the lavish programme contained no commentary from the production team on their conception of the cycle, so the audience was left to ponder about it and often to remain perplexed.\u00a0 A major puzzle was the visually dominating presence in the Valhalla scenes of many life-sized stuffed animals.\u00a0 They seemed to have no relevance whatsoever to the narrative.\u00a0 Worse still, their colour and detail dominated the dark, minimalist sets and were visually very distracting.\u00a0 Their removal should be a priority for future revivals of the production.<\/p>\n
The handling of some of the crowd scenes should also be rethought especially in Nibelheim and during Siegfried\u2019s Rhine journey, where the synchronised gyrations of the crowd were risible, succeeding only in distracting attention from the fine playing of the orchestra.<\/p>\n
The culmination was also disappointing.\u00a0 Br\u00fcnnhilde sang her immolation scene directly to the audience on a mostly empty stage which made it seem almost like a recital performance.\u00a0 Then, after Valhalla was set on fire so spectacularly there was no further heightening of the visual tension for the final five minutes before the curtain fell.\u00a0 We were shown a mirror audience on stage (the human successors to the gods) facing the audience in the auditorium, but it was dramatically very low-key and lacked any sense of development or culmination.<\/p>\n
No production of the Ring will ever satisfy everyone in the audience.\u00a0 As Neil Armfield pointed out in his Insight talk, all Ring aficionados come to a performance of the cycle with their individual checklist of things they want and expect to see and hear.\u00a0 The results will always be mixed.\u00a0 With this proviso, Opera Australia\u2019s production must be accounted an outstanding triumph.\u00a0 Orchestra, singers and the production design team combined to generate a sizzling season which fostered a joyful atmosphere for the festival community.\u00a0 Hearty congratulations are due to the company and their generous donors who made the venture such a resounding success.<\/p>\n
Larry Turner for SoundsLikeSydney\u00a9<\/em><\/p>\nLarry Turner has been singing in choirs for many years \u2013 both in Sydney and London.\u00a0 He is an avid attendee of operas and concerts, with an emphasis on vocal music.\u00a0 He particularly enjoys music from both the great a capella period and the baroque \u2013 especially the lesser-known works of Bach and Handel.\u00a0 He has written programme notes for Sydney Philharmonia, the Intervarsity Choral Festival and the Sydneian Bach Choir and is currently part of a team researching the history of Sydney Philharmonia for its forthcoming centenary.<\/em><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"
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