The absolute first thing must be an
awed appreciation of the voices tonight! Everyone was incredible! The Norns
were dramatic and eerie, Brunhilde was powerful yet sensitive, Siegfried
dynamic and mellifluous by turns, the Gibbichungs intense and expressive, Hagen
was magnificent! His rich bass was practically left a treacly trail of evil in
his wake! Waltraute was impassioned and the Rheinmaids lilting and exquisite.
We’ve
made no secret of the fact that we do not care for the director’s “concept” for
this cycle, so we won’t belabor that too much. I felt that this one was the
least tedious and the most coherent since das Reingold. As for some of his
“interpretations” and liberties, I will simply say that I do not believe that
the Ring requires additional violence, sexual assault, or incest. It was also a
little disappointing the world ended here with a literal whimper (from Hagen
when the Rheinmaidens chucked the ring into a trash can fire). As bleak,
despondent, and generally nihilistic as this production was, I really thought the
director would be (and I was personally looking forward to) all about burning
it all down.
Just
to clarify, when we are trashing this cycle we are only attacking the direction
and the director’s overall “vision”. The performers have been amazing, the
production values have been incredible – the lighting, sets, costumes, etc.
have all been excellently done; however little they may have served the actual
story, they alone served to somewhat hide the nakedness of the Emperor’s
concept. I leave out the video, because we truly loathe the incorporation of
video into so many productions. The extremely rare moments when it adds
anything positive are so overwhelmed by the all the times it is a distraction,
a disruption, or just a lazy way to work around exposition.
The
last thing we want to laud is the Bayreuth audience! The Ring is the endurance
trials of opera and this crowd was gold medal grade all the way through. Not a
single cell phone went off, I think I might have heard two sneezes, and six
coughs over the entire 19+ hours. No one sang along (HGO production of La
Boheme), tapped feet or wrist watches to the music (SFO Ring), or squirmed
endlessly (squeakily) in those little wooden school desks (every production
ever – except our seats are plush and squishy). Seriously, as soon as the
lights dimmed you’d have thought they were magically transformed into waxworks
(well, statues – wax would totally have melted in that sweat box). They took
their hours of pent up potential energy and used to it vociferously acknowledge
the performers. My pet peeve (okay, one of them!) with so many American
audiences is that they treat the performance like the opening ceremonies for
the REAL event – the race to see who can get to the parking lot first. There was
none of that here – curtain call after curtain call, they roared like lions,
and just when you thought it was time to seek medical attention for the
blistering of your palms, here comes the conductor and the thundering made me
genuinely afraid for the fabric of the building.
Although we obviously would have preferred a production we
didn’t hate, loathe, and despise, the music was splendid. So as Brad insists on
saying, we have no Bayreuth’s remorse. All angst and bad puns aside, we have
loved all that we have experienced of Germany! The landscape and the marvelous
cultural heritage have been tremendously enjoyable! We plan to finish strong
with a visit to the 3rd of Ludwig II’s fantastical pleasure palaces,
Herrenchiemsee!