Richard Wagner - Das Rheingold
Staatsoper unter den Linden, Berlin - 2022
Christian Thielemann, Dmitri Tcherniakov, Michael Volle, Claudia Mahnke, Vida Miknevičiūtė, Rolando Villazón, Johannes Martin Kränzle, Lauri Vasar, Siyabonga Maqungo, Stephan Rügamer, Mika Kares, Peter Rose, Anna Kissjudit, Evelin Novak, Natalia Skrycka, Anna Lapkovskaja
ARTE Concert - October 2022
Richard Wagner's use of mythology as a means of exploring the German psyche or defining a national identity has been exploited before, notably in Hans Neuenfels' notorious Bayreuth Lohengrin, but Dmitri Tcherniakov has also used many of his productions as a way of psychoanalysing the works in question and the mindsets behind them in productions like Carmen and Les Troyens). Not everyone likes this kind of approach, but for the most part, if not always fully (see his controversial Dialogues des Carmélites), he does so while at least still respecting the deeper intent of the works. His approach to Wagner varies, often overturning expectations, and judging from the opening prologue opera of Wagner's Das Ring des Nibelungen, it looks like following a very familiar pattern and aesthetic. Whether he continues to adhere to the underlying ideas and philosophy behind the work or not remains to be seen, but I suspect that Tcherniakov will find his own meaning in the tetraology as a whole.
Not unexpectedly then, but still finding a way to surprise, the Staatsoper unter den Linden production of Das Rheingold opens in a scientific research centre, a "Stress Laboratory", where Alberich is the subject of an experiment. The dwarf appears to be undergoing something similar to a virtual reality experience, although the period is 1960s or 70s and the method and equipment is cruder, sending signals directly into the brain. Three lab assistants taking notes play the Rhinemaidens to Alberich, which does reflect in its own way how Alberich is being toyed with. Inevitably it all goes horribly wrong.
If the scientific laboratory of the first scene is unusual, the visual appearance of Valhalla at least conforms to the current Tcherniakov aesthetic of plain boardroom oak wall panelling, the stage rotating or sliding between a sequence of boardrooms, offices and a forum-like arrangement of seating that sets this Wotan up in the manner of a businessman. Or, if not a businessman, someone with a great deal of power and influence, although his power is not infinite and he has to rely on a couple of dubious characters who are less giants than 'heavies' (although they are big as well) to help him maintain an suitable home for a man of his ambition. Wotan conducts them into the marble walled boardroom to conclude, or rather renege on their business agreement.
Loge recounts the tale of the folly of Alberich, who forsook a woman's love for the sake of gold, suggesting that there might be a solution to their current predicament to be found there, not realising that the error is about to be compounded. With that as a set-up it does appear that the anti-capitalist sentiments at the heart of Wagner's major work being the key motivating and destructive force behind the fall of the gods. It's definitely not an original viewpoint, and indeed it would be hard to see how this could be developed any further than it already has been with Frank Castorf's expansive take on the subject in the Bayreuth Ring still fresh in the memory (to the horror of some).
While that does seem to be an angle that can't be ignored, it does only seem to feature as a side element, or underlying theme that is already taken as read while Tcherniakov considers on a deeper level the impact, harm and damage that this has on people (in a scientific experimental way). Perhaps. It's too early at this stage to see where it might go, but it is at least wonderful to see the little subtle powerplays and personal conflicts against others' interests play out between all of the characters in this Das Rheingold. It feels much more meaningfully presented than it might if played straight as nothing more than a dispute between immortal beings. The only thing immortal here is the fact that the behaviours seems to be consistent in human nature throughout history.
The scientific exploration or "investigation of human behavioural models in a test group" continues with the deranged Alberich in Niebelheim exerting his power in a petty manner that leads Wotan and Loge to laugh and make fun at him. They have higher ambitions but at the same time he has something that they want, and they are prepared to exploit and cheat him - again an idea that fits in with Castorf's emphasis on the exploitation of the working classes. Whether you think this all comes together into something coherent as an allegory (even Castorf's ideas were somewhat scattershot), we perhaps don't need to take it literally. If it's just about the curse of the lust for money and power corrupts those who long for it, it makes a point, if somewhat reductively. It's too early to expect it to express much more than that in the prologue to this huge work.
What seems less in doubt in this Berlin Staatsoper Ring is the quality of the musical and singing interpretation. This Das Rhinegold at least has a mighty performance from Michael Volle as Wotan. Johannes Martin Kränzle - who has already made a great impression as Alberich in the previous Berlin Staatsoper Guy Cassiers Ring cycle (also seen in Milan) - definitely has an interesting spin to take on the character in this production. I was also very impressed with Rolando Villazón moving into the Wagner repertoire, bringing a suitably sprightly mischievousness to the role of Loge.
All the roles here seem capably filled and the music direction undertaken by Christian Thielemann following the departure of the indisposed Daniel Barenboim is fine. There is nothing leaps out in either the concept or the performances here however, it's not entirely clear where it's going, but there are some nice touches in the direction, the musical approach and in the characterisation to suggest that it will be interesting to see where this one goes.
