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Music Performance Reviews
Metropolitan Opera House, New York City
www.lincolncenter.org
DIE WALKURE
Music and Libretto: Richard Wagner
Conductor: James Levine
Production: Otto Schenk
Stage Director: Peter McClintock
Sets: Gunther Schneider-Siemssen
Costumes: Rolf Langenfass
Lights: Gil Wechsler
Cast
Siegmund: Placido Domingo
Sieglinde: Deborah Voigt
Hunding: Sergei Koptchak
Wotan: James Morris
Brunnhilde: Jane Eaglen
Fricka: Yvonne Naef
Chandak Ghosh
03/29/2004 Wagner aficionados use terms like "spiritually transformed" and "state of bliss" when they describe their reactions to experiencing his operas. Those who don’t understand Wagner-mania think that hyperbole like "spiritually transformed" is only part of the nonsensical lore surrounding Wagner’s works—mainly propagated by the composer himself. Certainly, the fours operas (and 17 hours) of Wagner’s epic The Ring of the Nibelungen stand among the greatest artistic achievements of mankind, yet they are also obviously the works of a narcissistic, self-indulgent composer who feels his music is so important that it serves a higher purpose than just to entertain. With a cast and production so perfect as the one presented by the MET last evening, it’s hard to argue with Wagner’s viewpoint.
The four operas of "The Ring" recount the Nordic/Germanic tales of an all-powerful golden ring, stolen from the Rhinemaidens by Alberich the Dwarf in the first opera, causing ultimately the destruction of Valhalla, the castle of the Gods, by the fourth. Die Walkure (The Valkyries), the second of the tetralogy, begins with the adulterous love affair between the twins Siegmund and Sieglinde. Sieglinde’s husband Hunding appeals to the Fricka, the goddess of marriage and King of the Gods Wotan’s wife. Originally siding with Siegmund in the battle between the two suitors, Wotan is convinced by his wife that the laws of nature should not allow a marriage between siblings. As Siegmund happens also to be an illegitimate son of a very frisky Wotan, supporting Siegmund in battle would be a slight to Fricka. Wotan agrees to kill his son Siegmund and sends (yet another illegitimate child) the Valkyrie Brunnhilde to do it. Brunnhilde, sensing her father’s hesitation, decides to support Siegmund instead. Wotan, in keeping his promise to Fricka, intervenes and kills his son. Brunnhilde, running from Wotan’s rage for disobeying him, hides the now-pregnant Sieglinde. As punishment, Wotan makes Brunnhilde mortal and leaves her in a ring of fire to be discovered by only the bravest hero. (The next opera reveals that hero to be Siegfried, the child of Siegmund and Sieglinde.)
Certainly the MET’s traditional staging Die Walkure invokes every operatic cliché associated with The Ring like armor-wearing, spear-bearing, large women screaming on a bleak, mountainous landscape, but within a few seconds of the MET orchestra’s brilliant playing, all is accepted. James Levine, the preeminent Wagnerian conductor of his generation, conjures up all the magic in Wagner’s tumultuous music.
Soprano Deborah Voigt, fresh from her scandalous firing from the Royal Opera House because of her weight, sparkled as Sieglinde. Hers is a warm, shimmering instrument that brightens as it rides the orchestra. Placido Domingo has gone from being the preeminent tenor of the Italian repertoire to becoming the preeminent Wagnerian tenor—a jump as unexpected as it is welcomed. His strong, dark voice gave Siegmund a striking masculinity. The pairing of Domingo and Voigt as the sibling lovers was a taste of operatic heaven. James Morris’ Wotan sounded more worn than before, but his portrayal of fatherly love remains an extraordinarily touching characterization. Jane Eaglen moves more easily on the stage with each passing season, and her huge soprano gains more nuance. She seemed underpowered in the Act II (possibly because it lies in her less weighty middle voice), but by Act III, her immense cries nearly shook the walls. Yvonne Nael made an impressive MET debut as a decisive, demanding Fricka.
Die Walkure, with the same cast, will be presented live as part of the MET’s radio broadcast series on Saturday, April 3rd. Check local listings for time and station. The MET season continues with the other three operas of The Ring as well as Madama Butterfly, Nabucco, and Rusalka, among others. Go to www.metopera.org for details.
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