The Royal Opera Ring: Notes from London
Notes from London. The Royal Opera Ring - a semi-staged production
in the Royal Albert Hall. 28 September to 3 October 1998. Conductor:
Bernard Haitink. Director: No one given credit.
Let me make a confession at the very start. I think the just concluded
production at Bayreuth is pretty extraordinary. I even came to like
Rosalie's costumes - after they had been modified somewhat. The Royal
Opera's 'semi-staged' or, in reality, 'no frills' effort in the vastness
of the Royal Albert Hall, turned out to be just as remarkable. Semi-staged
for this production constituted two strategically placed verdigris
cubes on a specially constructed thrust stage which resembled a stealth
bomber. The Royal Opera Orchestra and its conductor, Bernard Haitink,
were located behind this stage. The singers were dependent on an array
of televisions for their cues.
The cycle as a whole was characterised by marvellous performances
by the orchestra and chorus which eclipsed any unevenness by some
of the Principals.
Das Rheingold
The very ragged start by the three Rheinmaidens (Rosemary Joshua,
Gillian Webster and Leath-Marian Jones), whose voices were a bit uncertain
in the great arena, was matched by an equally unsteady orchestra.
'Oh dear,' some of us thought. Maestro Haitink ploughed on with a
steady pace but the whole thing was proving to be a bit ordinary.
John Tomlinson as Wotan, was pacing himself rather nicely and an intelligent
and sympathetic Fricka (Michelle DeYoung) started to move things out
of the commonplace. The entry of Loge (Philip Langridge), whose ‘spivy'
costume caused a murmur of mirth from the hitherto respectful audience,
started to get things moving. Both his voice and acting started at
a high level and just got better. The interchanges between Wotan,
Loge, Alberich (Ekkehard Wlaschiha) and Mime (Robin Leggate) introduced
a measure of humour. This, probably together with the singers' and
orchestra's growing sense of comfort with the peculiar acoustics of
the RAH, produced a spark of something special. The growing sense
of certainty of accomplishment had been helped along by splendid acting
and vocal performances of Fasolt (Kristin Sigmundsson) and Fafner
(Matthias Holle). The night's accolades went to Bernard Haitink, whose
experience and grit finally pulled the orchestra together, and to
Philip Langridge who attacked his role with flair.
Die Walküre
The reviews for Rhenigold were mixed, to say the least, so we in
the audience awaited the opening bars of Walküre with some apprehension.
We should not have worried because Maestro Haitink was now fully in
control and the orchestra was much more accomplished. It would remain
so for the rest of the cycle. The first act was, however, a bit flat.
Neither Siegmund (Kim Begley) nor Sieglinde (Rita Cullis) produced
anything sparkling. Hunding (Matthias Holle the splendid Fafner of
the night before) however, produced a firm and powerful performance.
The second act saw a change in quality. Fricka (Michelle DeYoung)
gave a sensitive and exciting performance This was matched by a powerful
and moving interplay between Brünnhilde (Hildegard Behrens), in consummate
voice, and Sieginund. A powerful bunch of Walküren moved the opera
further above the average. Their mastery heralded the final and moving
scene between Wotan, an emotional and accomplished voiced John Tomlinson,
and his wayward daughter. A British audience moved to tears? Yes.
This weeping turned into a tumultuous reception for the Maestro and
the cast.
Siegfried
The quality of the opening bars of the short orchestral prelude assured
us that the orchestra was now under full control. This meant that
we could better cope with the uncertainties surrounding some of the
principals. Mime's (Graham Clark) entry heralded an exuberant act
characterised by superb exchanges between
Mime and Siegfried (Stig Andersen) and between Mime and The Wanderer
(John Tomlinson). Clark's performance, in all respects, was profound.
Stig Andersen's voice, while lacking a clarity in tone, was nonetheless
impressive for its strength. His enthusiastic acting was appropriate
for this bullish production. Act 2 continued the power of Act 1. Of
note was the enchanting forest murmurs. The sheer intensity of the
acting made us forget the limitations of the performance space. Act
3 was a bit of a let down. Brünnhilde (Anne Evans) was slightly stiff
both interms of acting and voice. By the time of the final Siegfried/Brünnhilde
rapture, Stig Andersen was feeling the strain of his earlier ebullient
performance. This is a minor criticism however. A special mention
must be made of the gentle and moving interaction between Wotan and
Erda (Catherine Wyn-Rogers). The cheers at the end of the performance
were fitting.
Gotterddmmerung
What a night! The first bars of the Prologue caused us to realise
that we were being confronted, for this night at least, by the best
orchestra in the world. Its brilliance, together with the surety of
the Noms (Catherine Wyn-Rogers, Jane Irwin and Rita Cullis), caused
this scene to flash by in an instant. The Act 1 interaction between
a malignant Hagen (Kurt Rydl), a petulant Gunther (Alan Held), as
well as a dynamic Waltraute (Petra Lang) added to the mounting excitement
of this production. Act 2 opens with a powerful and sinister confrontation
between Hagen and a menacing Alberich (Ekkehard Wlaschiha). Evil is
soon dissipated by the disciplined and soaring sounds of the vassals
(RO Chorus). Somewhat shaky, we stumbled into the corridors of the
Royal Albert Hall to mutter our enthusiasms. In Act 3 the vastly improved
and spirited Rheinmaidens (Rosemary Joshua, Gillian Webster and Leath-Marian
Jones) toyed with the ever ebullient Siegfried (Stig Andersen). Something
in his voice was now different - a new clarity or lustre heralded
his own pending demise. In the final scene of this now astounding
production Gunther is literally thrown off the stage by a frenzied
Hagen. Brünnhilde (Ann Evans) approaches her immolation with a restrained
dignity and a clear, perfectly pitched, albeit limited in volume,
voice.
But the time for criticism is now over, for Bemard Haitink, the RO
Orchestra and Chorus and the hard working Principals have clearly
created something phenomenal. At the end Maestro Haitink bowed his
head in a quiet contemplation of his creation. Moved, the audience
thundered its appreciation. The Maestro pacified the audience. ‘Write
to the Ministry of Culture. Very serious. Help us', he pleaded
in his subdued voice.
The elated and angry audience poured out of the hall, all intent
on writing to their MPs and to the Royal Opera. I hope they do and
I hope that the Royal Opera is able to survive its own Götterdämmerung
- it must.
JOHN D. STUDDERT
This is John's fourth Ring Cycle - three at Bayreuth.
He Will be going to Adelaide.
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10-Mar-2004
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