Richard Wagner - Götterdämmerung
Metropolitan Opera, New York 2012
Fabio Luisi, Robert Lepage, Deborah Voigt, Wendy Bryn Harmer, Waltraud Meier, Jay Hunter Morris, Iain Paterson, Eric Owens, Hans-Peter König, Erin Morley, Jennifer Johnson Cano, Tamara Mumford, Maria Radner, Elizabeth Bishop, Heidi Melton
The Met: Live in HD, Feb 11th 2012
The evolution of the Metropolitan Opera’s Ring cycle has been gradual but noticeable through each of the four parts spread across its 2010/11 and 2011/12 seasons. Initially in the prologue, Das Rheingold, the spectacle of Robert Lepage’s Machine was clearly an impressive and revolutionary piece of stage technology, but its concept and purpose were not entirely proven. At the very least however, the opening section of the Met’s Ring cycle delighted with a stunning display of powerful singing. Neither the staging nor the singing were entirely consistent across Die Walküre nor Siegfried, but as James Levine’s illness forced him to gave way to Fabio Luisi on the conductor’s podium, a more equitable balance seemed to develop between the production and the performance that played to the strengths of Wagner’s masterwork, even if that meant a little less power in the vocal delivery. If Siegfried held out the promise that Lepage’s vision could end up being a memorable Ring production, that promise was satisfyingly achieved in its epic final evening. With Götterdämmerung, the Met’s Ring has come full circle.
Following on from Siegfried, Fabio Luisi again conducted a Wagner of Romantic sweep over the traditional heavy Germanic declamation, perhaps in favour of two leads who don’t have the full force that is usually demanded for the roles of Siegfried and Brünnhilde – Jay Hunter Morris and Deborah Voigt. The toning down of the dramatics and tone also worked fittingly with a subtlety in the stage design that belies the sheer weight and imposing presence of the Machine. Like Wagner’s score for Götterdämmerung, the underlying power of the tools at one’s disposal can be a temptation for overstatement, but it can be even more effective if that huge mass of force is suggested and used only sparingly. Clearly both Luisi and Lepage understand that. This is a Ring for the 2010s then, faithful to Wagner’s vision of the power of mythology and of the music drama as the highest expression of human artistic endeavour, taking it to a new level through the modern technology that is at the disposal of an imaginative director.
Lepage’s vision for the production didn’t appear to yield any grand conceptual theme other than how best to make Wagner’s daunting and problematic series of operas work in a modern context without all its accumulated history and tradition. Particularly in the earlier parts, the morphing planks and projections worked mainly on a literal basis to create the imposing presence of Valhalla, an impenetrable forest or a mountain cave housing a dragon, but as the cycle progressed, the emphasis shifted more towards the abstract conceptual. The polymorphous nature of the technology was still well-employed to give solidity to the physicality of the story – the riverside playground of the Rhinemaidens for example actually looking more realistic here than how it was projected during Das Rheingold – but the colours, lighting and abstract patterns elsewhere in Götterdämmerung seemed to be more attuned to mood.
It may seem like making excuses for slightly underpowered performances, but it was actually refreshing to find a Siegfried and a Brünnhilde playing not as mythical god-like figures, but as the human characters they essentially and necessarily are. No excuses however need to be made, even for the fact that both Jay Hunter Morris and Deborah Voigt were taking on enormous challenges way beyond anything they have ever done in their careers; on their own terms their performances were exceptionally good and fitting for the production. The chemistry that seemed to be there between them at the end of Siegfried didn’t extend however through to the first act of Götterdämmerung, both seeming a little overwhelmed, the lack of lower depth in both their voices even more noticeable when combined. Voigt however raised her game when paired with the formidable and experienced Wagernian mezzo-soprano Waltraud Meier as Brünnhilde’s sister Valkyrie, Waltraude. Their sequence together was simply magnificent. For his part Morris won through from sheer determination and stamina in a severely testing role that demands a concentrated effort for six hours, but he also had a down-to-earth personality and charm that made the final scenes of the opera intimate and touching as well as being epically apocalyptic.
If there were any misgivings about the appropriate Wagnerian tenor of the main roles not quite matching the earlier powerhouse performances of the likes of Bryn Terfel, Stephanie Blythe, Eric Owens and Jonas Kaufmann, there was again magnificent support here not only from Waltraud Meier, but Wendy Bryn Harmer proved to be a fine Gutrune, Hans-Peter König a formidable Hagen – blankly sinister in acting, but deeply menacing in tone of voice – and there was another impressive turn from Eric Owens who made the brief reappearance of Alberich more than memorable, particularly as his character is a vital link (and leitmotif) that sustains the overarching development and tone of the entire work. Only Iain Paterson failed to make his presence felt either as Gunther, but his weak-willed character was at least dramatically appropriate and fitting, and certainly not a weak element.
I can’t say what the experience would have been like in the theatre, but there was no evidence during the HD-Live broadcast of any noise from the stage equipment, or indeed any of the problematic breakdowns that have been the cause of complaints in some quarters. Everything on the stage flowed smoothly and impressively. On the big screen, Götterdämmerung was as grandly spectacular and as intimately moving as it ought to be, perfectly attuned to the score and the performances. The camerawork – directed a strong visual flair as usual by Gary Halvorson – was also well-judged to pick out the strengths in the performances and the production design, working with it, flowing with the mood of the piece. Although there are a few Ring productions still to come this year and next (the Munich one in particular should be interesting), when eventually viewed together as a full Ring cycle (it will be interesting to see if the first two are revised slightly to suit Luisi’s approach to the work) I think the full impact and consistency of this Met Ring will be better appreciated and it may even be regarded as one of the best of recent times.