Posts Tagged ‘Andreas Schager’

Götterdämmerung, Staatsoper Berlin, Schiller Theater, April 2013

11 April, 2013

When the Rheinmaidens playfully tease Siegfried at the start of Act II, their musical movements were far better than the unmusicality of the irritatingly intrusive dancers, who reappeared in this final part of The Ring. Their manipulation of silk sheets was fine, but this is the first time I have seen opera ladies move more gracefully than dancers, which suggests Belgian director Guy Cassiers should abandon them and let Wagner’s music speak for itself.

Act 1, images ©MonikaRittershaus

Act 1, images ©MonikaRittershaus

Under Barenboim’s direction it did so in spades, with a grippingly emotional Siegfried funeral march movingly complemented by a  red glow in the lighting. But after this the production failed to carry conviction. Siegfried’s arm merely flopped to one side rather than rise in warning to Hagen, who stayed where he was before quietly leaving the stage. He suddenly returned from stage-right to shout Zurück vom Ring, before barging his way through the onlookers to get to the Rhein, but why wasn’t he anxiously waiting and following Siegfried’s body with his eyes? It didn’t make sense.

Nor did some of the video imagery of faces with tongues hanging out, but there was fine singing in abundance. Waltraud Meier, an exceptional Sieglinde in Walküre, returned to sing Second Norn with a lovely evenness of tone, and reappeared strongly as Waltraute in a well wrought conflict with Brünnhilde. Iréne Theorin was commanding in that role, singing with effortless intensity. Siegfried was boldly sung by Andreas Schager, slim, youthful and convincing, as was Mikhail Petrenko as Hagen, and Johannes Martin Kränzle reprised his deeply powerful Alberich. Anna Samuil returned from her Freia in Rheingold to sing Gutrune, and Gerd Grochowski was an immensely effective Gunther, his firm voice complementing a melancholy stage presence that reminded me of a younger Jeremy Irons. His performance was an unexpected pleasure.

Brünnhilde, Hagen, Gunther

Brünnhilde, Hagen, Gunther

Overall, this production has its strong points, particularly in the lighting and some of the better video imagery, but its weakest points lie in the use of dancers. Rheingold was particularly bad in this respect, and Walküre was easily the best part, and the only one in which dancers were entirely absent. An interview in the Walküre programme showed Belgian director Guy Cassiers to have some rather naïve political ideas that included blaming Europeans for much of the poverty in the world. Perhaps his attitudes stem from Belgium’s poor colonial record, but noting that Wotan is cleverer than many of today’s politicians is a bit jejeune.

That Monsieur Cassiers is inspired by concepts relating to the interplay between good and evil, and success and failure, is no bad thing, but the unifying force that makes this Ring work so brilliantly is surely the musical direction by Daniel Barenboim. That plus a clever choice of singers who fitted their roles made this a hugely musical pleasure.

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Siegfried, Staatsoper Berlin, Schiller Theater, April 2013

8 April, 2013

The first two operas of this cycle experienced slight problems: orchestra lights failed a couple of times during Rheingold, and stage backdrop lighting flashed and failed in Walküre. But Siegfried saw a more serious disruption when the eponymous hero failed to show up for Act I. Why, we were not told, but the role was admirably sung from the wings by Andreas Schager, with an assistant stage manager going through the motions on stage. So vocally effective was Schager that Daniel Barenboim brought him on for a special curtain call at the end of the act, and the audience roared their appreciation.

Awakening, all images © Monika Rittershaus

Awakening, all images © Monika Rittershaus

Canadian tenor Lance Ryan thankfully turned up for Act II, which was just as well since Schager was singing in a concert performance of Zauberflöte with the Berlin Philharmonic under Rattle later the same evening. At the end of Act II, Ryan declined a solo curtain call, and at the end of the opera, after a superb performance in Act III, the restrained applause marked audience disapproval for his early absence.  But he was exceptionally good, and I regret not hearing him in all three acts. His final scene with Iréne Theorin as Brünnhilde produced glorious singing, and his Sei mein! followed by her beautifully gentle Oh Siegfried! Dein war ich von je! was a moving moment.

Forging the sword

Forging the sword

Of course Daniel Barenboim in the orchestra pit was the magician bringing Wagner’s great moments to fulfilment, and this third episode of the Ring was a musical triumph. Peter Bronder sang and acted strongly as the ill-favoured Mime, and Norwegian bass-baritone Terje Stensvold gave a commanding performance as The Wanderer.

Mikhail Petrenko sang a strong Fafner from behind the stage, but here we find one of the problems in this Guy Cassiers production. The dragon was portrayed by five dancers wafting a vast printed silk sheet, but since the voice came from elsewhere this lacked conviction, and after the dragon’s death they attached themselves to Siegfried, making interminably dull geometric patterns with five swords. The dismemberment of voice and body had already occurred to the Woodbird, with a double performing insipid and unmusical movements on stage while the singing Woodbird (Rinnat Moriah, a perfectly handsome young woman) was off-stage.

Siegfried and dancers

Siegfried and dancers

Good lighting and sets, except that the forging of the sword was essentially done by atmospheric lighting and seven flat screen videos, plus a few tap-taps in the upstairs part of the set, as if a saucepan were being mended. Otherwise I liked the intriguing design for Mime’s home, which Wotan navigated with admirable aplomb as it turned from horizontal to vertical. Forest lighting was wonderful, and the meeting of Alberich and the Wanderer in Act II was very effective. If the superfluously irritating dancers had been absent, this act would have been perfect — they were not there in Walküre, and I’m sure most of us hope for the same with Götterdämmerung.

This performance was on April 7, and the final instalment of The Ring takes place on April 10.