Der Ring des Nibelungen 2:
Die Walkure. Wagner Days MUPA Budapest
June 14th 2019
Well, the splendours if last night, musically and dramatically were not quite comparable with Walkure. Whereas both staging and musical elements worked wonderfully well together last night (for the most part) each enhancing the other, here while one element was exceptional (the musical) the other (the staging) was somewhat less so. It did not really impact too much overall except for one element – the dancing Loki – of whom more later – but given the exceptional musical standard it was slightly disappointing.
The stage set as described before was not used nearly as imaginatively in terms of film and video images and lighting as it was for Rheingold. The bursting of the spring light into Hunding’s hut near the climax of the first act was somewhat underwhelming and while the images chosen – pink blossom – were…nice, they did not have the impact that the music said was occurring at that moment. Again, much use of Alpine scenery which was quite effective, not least in the swirling of the snowstorm in the opening which was one time when stage picture and music were very well matched with each enhancing the other. The lack of a visible Nothung in this act and its symbolic withdrawal from the tree trunk was irritating but because one was so involved musically it had less impact that it could have done. Hunding’s wolf-hounds were an effective touch visually – but only the two with head masks; the other larger group seemed somewhat superfluous. It seems to be something of a Hungarian tradition to make much use of dance on opera…
The part of the work where the staging and music most effectively and imaginatively combined was, rather to my surprise, the opening of Act 3 with the Ride of the Valkyries. I had seen pictures of the dance figures holding a horse’s head on the end of one arm and had had doubts – but when seen in context, with the imaginative movement, I found it very effective and original; in fact there was also a complete mini-ballet at one stage – and when the singers were eventually seen, their integration with the dancers was very effective – particularly when they all gathered around to protect Brunnhilde from the fury of Wotan. All the choreography communicated very effectively the nature of these creatures – their power, their grace etc. In addition there was (occasional) use of tumbling silhouettes on the screen, as used in Rheingold for the Nibelung hordes. The climactic fire surrounding Brunnhilde was very well done through film and imagery – too often when this technique is used it can look rather half-hearted but not here. The one REALLY bad element though was the appearance, as Wotan summoned him, of red-clad dancing Loki, as seen in triplicate in Rheingold, which was frankly, just awful. Completely unnecessary. I wanted to shout ‘get off the stage, you’re an infuriating distraction’ – particularly at this glorious musical climax where one did NOT need to see a cavorting figure in red – the flames were wonderfully represented by film and a figure was absurd literalism; if Loki is called he must be seen. Well he was…as the flames!
But now to the real triumph – the musical performance. Stuart Skelton as Siegmund confirmed why he is the go-to person at the moment for these roles. His voice met every single demand of the role for the length of the piece. Power and sweetness, superb control and an ability to communicate marvellously with other characters on stage marked this performance. He was equally superbly well-matched by the incomparable Camilla Nylund. What a voice! – And what a superbly powerful and moving performance. She gave her all in every aspect of the piece and her final utterance in Act Three of ‘Herrlichstes Wunder’ was a spine-tingling as it should be. As
Hunding Albert Pesendorfer brought a grim darkness and power of both vocal tone and stage presence to his role. I also liked the way his death was shown at the end of Act 2 – a characteristic of this style of production. Stanfing still and then as Wotan pronounced his death sentence, dropping his head. After that as the dram continued he just sat down on the chair and somehow this combination – of staging elements and concert performance elements worked really well. There were other moments where this was the case too and while I can understand some not liking this mixed approach – IS it being fully staged or is it more a concert performance – the combination, in this particular moment convinced as to the validity of this approach. When I first read about this event and saw the phrase –‘semi-staged’ I was doubtful about that as concept; would it be neither fish nor fowl? Well, sometimes yes, it can be but more often than not, it works – and interestingly.
Johan Reuter was in even better voice than in Rheingold and right to the last note, had all the vocal charisma and command needed to fully realise this role. His acting was superb, particularly in the final scene between him and Brunnhilde. This was the stunning Catherine Foster whose remarkably powerful tireless and gleaming voice gave us everything we could want from a performer in this role –and again, right up to the final phrases where her voice sounded and powerful and fresh as at the start with her spectacular war-cries. The acting and emotional rapport between the two of them in the final scene was as powerful and moving as I have er seen it. Foster caught all aspects of Brunnhilde – the fierce warrior maiden, the petulant foot-stampng teenager, the wise and strong supportive female frond the heart-broken daughter who realises what a ksitake she has made and in what a terrible dilemma she has put her father. A Brunnhilde for the ages!
So musically absolutely stunning production wise not quite so much. What will Siegfried bring I wonder…