Germany Wagner, Das Rheingold: Soloists, Bayerisches Staatsorchester / Vladimir Jurowski (conductor). Nationaltheater, Munich, 31.10.2024. (ALL)
There was a particular ambiance at Munich’s Bayerische Staatsoper even earlier than the opera started; the home was filled with a global viewers discussing at size the deserves of Ring productions in Zurich, Milan and Berlin, in addition to earlier productions on this very theatre. Greater than in Bayreuth or perhaps in all places else, Wagner’s music actually issues in Munich.
We are going to see solely the Prologue of this Ring this season, with the ultimate three operas to be staged in following seasons and accomplished in 2027. However the tone is about by this fascinating Das Rheingold carried out by the staff of Vladimir Jurowski and Tobias Kratzer, who gave us such a powerful studying of Mieczysław Weinberg’s The Passenger final season (evaluate right here). Simply as final time, that is an unique conception executed with nice care and talent, and with real concord between the dramatic staging and musical conception.
The Gods on this Rheingold are fairly drained, materialistic, immature and missing confidence. Alberich is introduced as an apostle of nihilism, displaying Nietzsche’s aphorism ‘God is useless’ on the entrance of Cologne Cathedral. He seems weak earlier than the Rhinemaidens, despised by the Gods and humiliated in a scene of hanging violence when, returning defeated from Nibelheim, he delivers his curse stark bare.
However Kratzer additionally is aware of the best way to discover sudden and efficient comedy counterpoints. One shouldn’t reveal them in order that the spectator can benefit from the shock, however simply bear in mind the journey to and from Nibelheim doesn’t occur as one may count on in any respect. Additionally, the Rhinemaidens are reworked in a very sudden and pleasant method. (And likewise, I don’t need to describe what occurs in the course of the fairly magical look of Erda (Wiebke Lehmkuhl), however it’s a excellent thought that matches so effectively with the story and the music.)
There are numerous ‘conversations’ in Rheingold and quite a few exchanges between all characters. The performing is delicate and the motion is very readable with a manipulative Fricka (Ekaterina Gubanova), Fasolt (Matthew Rose) and Fafner (Timo Riihonen) in clerical costumes each obsequious and harmful, and lots of different good touches.
There is perhaps a number of drawbacks. The stage is kind of darkish, and a few vital particulars are laborious to see. Loge, such an vital determine, feels under-characterized in comparison with the others (and did he really want to smoke that a lot?). However most significantly, the Nibelheim scene lacks grandeur. It takes place in a hangar the place Alberich (Markus Brück) and Mime (Matthias Klink) pile up banknotes and automated weapons. Actually, Alberich is the one human, however the energy he has gained via the Ring and the renunciation of affection must be stronger. That is performed down considerably.
Within the orchestra pit, Vladimir Jurowski stunned us in a repertoire which he’s not but identified for in Munich. Actually, he has proven his affinity with the music of Prokofiev or Shostakovich, and to a lesser diploma to Mozart. His course was filled with care and with out extreme haste. The orchestra, whereas understanding the best way to discover nice dynamic vary, was cautious to not overshadow the singers, reminding us of how he did the identical in Die Fledermaus (evaluate right here). However most significantly, there was real consideration to the rating and woodwinds passages that exposed quite a few particulars in a piece we thought we knew effectively. His is a profoundly stunning, very convincing, and fairly trendy Wagner studying.
There are numerous function debuts on this manufacturing. If you happen to love Wagner’s music and haven’t had the chance to listen to Nicholas Brownlee, consider me, you’ll have many alternatives to understand him. He’s in all probability the following nice Wagner baritone of our technology. His voice is highly effective with a good looking line and glorious German. His efficiency was a revelation. Sean Panikkar has the vocal dimension that Loge requires. He could have much less expertise on this function however will undoubtedly deepen his understanding later. Markus Brück lacked a little bit of energy within the very troublesome a part of Alberich however compensated with a powerful theatrical efficiency. Wiebke Lehmkuhl was an exquisite Erda, her singing magical. The remainder of the forged was of the best high quality general – in any case, we had been in Munich.
This was a night opera of the best order, saying an exhilarating Ring which we await impatiently. Wagnerians close to and much, you’d do effectively to collect in Munich once more subsequent season.
Antoine Lévy-Leboyer
Featured Picture: Bayerische Staatsoper’s Das Rheingold © W. Hösl
Manufacturing:
Director – Tobias Kratzer
Assistant Director – Matthias Piro
Set and Costume designer – Rainer Sellmaier
Lighting designer – Michael Bauer
Video – Michael Bauer, Jonas Dahl, Janic Bebi
Dramaturgy – Bettina Bartz, Olaf Roth
Solid:
Wotan – Nicholas Brownlee
Donner – Milan Siljanov
Froh – Ian Koziara
Loge – Sean Panikkar
Alberich – Markus Brück
Mime – Matthias Klink
Fasolt – Matthew Rose
Fafner – Timo Riihonen
Fricka – Ekaterina Gubanova
Freia – Mirjam Mesak
Erda – Wiebke Lehmkuhl
Woglinde – Sarah Brady
Wellgunde – Verity Wingate
Flosshilde – Yajie Zhang
