Cycle trailer: https://youtu.be/WQWvSDzdeGA
For this part of the cycle the orchestra was on the opposite side from Walkure but with essentially the same configuration of platforms. Location in the forest was largely and rather beautifully shown by lighting – in Act 1 a somewhat sickly and livid yellow which was at times mixed with a rich green, this being the dominant colour and a few uprights at times to suggest the depths of the forest in Act 2. Simple and effective. The set actually had a plausible-looking forge as well as a lab-like space where Mime conjured up the potion for Siegfried at the end of Act One. And an actor in a bear suit did actually work too –which was fun – and surprising in these days.
Mime was superb. Very insectoid with a carapace at the lower part rear of his costume – and he had insect-like ‘tics’ of hand movement in this work as well as an often scuttering style of movement as well which was very effective and creepy – but not as creepy as the trophy wig of human hair he had, presumably from Sieglinde, and which along with the broken Nothung was kept in the bed used by Siegfried! This performance was a very fine one as it brought out the malicious evil in a serious way which too often comes across as rather pantomimic. His dances of glee were superb. This act, along with all the others was thoroughly gripping – both in the big set pieces and in the more intimate moments whereas, as I indicated with Walkure, it was the personal interactions more than the big moments that had the most impact.
For Siegfried we had the boyish boisterousness that is a central part of the role but without the awkwardness that often comes from asking a large heldentenor to run and jump around like a tween – and the nastier side of him came put well too which is not always the case. The relationship/rapport between him and Mime was superbly shown by the two performers
In Act 2 the discussion between Wotan and Alberich was gripping due to the commitment of the performers – although I am sure being able to follow every word was a major help; I had forgotten how subtle and thoughtful the words actually were and the ebb and flow of the arguments about ownership and contract were. And again having the spear as a massive structural part of the scenery, looming over everything and everyone was marvelously and dramatically effective. The Forest Murmurs were marvelously done in every respect. Vocally Siegfried reduced his voice to the right level but still with rich and sweet tone (like Alberto Remedios at ENO) while the business with the reed was actually amusing. The most unusual feature for me was having a boy treble as the Woodbird – aurally a wonderful idea as it had an other-worldly effect and was a type of sound totally different from everything we had heard so far. The movements were superbly done by the young performer although at times I felt there was too much literal physical word painting; not every verb needed to be illustrated! And at the end of the act the lighting was absolutely gorgeous – a major strength in this work and of great dramatic import too.
In Act 3 the Erda/Wotan scene was a superb as I had hoped, given the two excellent performers and the imaginative staging and costuming of Erda – and it was interesting to see how desperate Wotan was by this stage, shown by his physical manhandling of the goddess.
The final scene was an appropriate climax, both from singing p.o.v. (although Siegfried was, understandably, fading a little at the very end of the duet!) and Brunnhilde’s performance was as well and powerfully acted as it was sung. The set for this scene had a change of platforms but with the use of silver and gold as a background, it gave a wonderful parallel to the extraordinary music – the joy and ecstasy of this final scene being reflected in the glittering set. Wonderful. So good to see all elements in a productions supporting and helping each other and not working against one another. But this has, I think, been a major strength of this whole production; all the elements are ‘of one’ and at the service of the music and drama – which, thinking about it, should be opera production 101!
So, just the climax now!
Siegfried Stig Andersen
Mime Wolfgang Ablinger-Sperrhacke
Der Wanderer Thomas Johannes Mayer
Alberich Werner van Mechelen
Fafner Jan-Hendrik Rootering
Erda Marina Prudenskaja
Brünnhilde Catherine Foster
Waldvogel Juls Serger
Muzikale leiding Hartmut Haenchen