Siegfried, Staatsoper Berlin, Schiller Theater, 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

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

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

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.

Das Rheingold, Staatsoper Berlin, Schiller Theater, April 2013

The lights went down and all was silence. In the partially covered pit the conductor was invisible but slowly a quiet E flat emerged. Daniel Barenboim’s restrained conducting allowed huge clarity for the singers and plenty of scope for the brass at big moments. It was a coolly intriguing prelude to The Ring.

Alberich and Rheinmaidens, all images ©Monika Rittershaus

The stage was filled with water, albeit shallow, and Alberich and the Rheinmaidens were like a boy with three teasing girls splashing around in the water. After their mockery he is defeated and soaking wet. Then comes the gold motif and we’re off and away.

After Alberich takes the gold, dancers enter. They form everything from an arch for the entrance of Wotan and Fricka, to a throne for Alberich and an animated tarnhelm. They also writhe and express themselves to the music, but not everyone will like this aspect. Some of us prefer less distraction. It seems that the director, Guy Cassiers is keen to see perpetual motion on stage, whereas many in the Wagner audience are doubtless more keen to listen to the orchestral sound and the singers.

Loge and dancers

In this respect there was some very fine singing indeed. Johannes Martin Kränzle was a terrific Alberich, somewhat hampered by the dancers in this opera, and I look forward to his return in Siegfried and Götterdämmerung. Superb diction and tone from Iain Paterson and Mikhail Petrenko as Fasolt and Fafner, plus a very strong vocal presence by Stephan Rügamer as Loge, and mellow attractiveness from Ekaterina Gubanova as Fricka. Despite a subdued performance as Wotan, René Pape came through strongly when necessary, particularly after taking the Ring from Alberich when he gloats that his new possession will raise him to der Mächtigen mächtigsten Herrn (the mightiest of mighty lords).

Alberich and dancers

The Ring itself in this production is a sparkling glove, and when Alberich loses it the end of his arm appears cut off. The glove idea has the merit of making the Ring obviously visible to the whole audience, and when Wotan heeded Erda’s warning he gave it up by simply tossing it over his head.

Costumes by Tim Van Steenbergen put the giants in dark suits, and the representation of the male gods reminded me of some rather odd dictators (the late Kim Jong Il came to mind in the person of Donner), and British readers will know what I mean if compare the appearance of Loge to violinist Nigel Kennedy.

Good lighting by Enrico Bagnoli, who collaborated with director Guy Cassiers on the sets, and I liked the video projections that at one point seemed to suggest a future world. Their reflection on the water was very effective, but I gather from friends that this was not visible from all parts of the auditorium.

This performance was on April 4. Die Walküre continues tonight on April 5, unencumbered by dancers if my memory of La Scala serves me right.