Das Rheingold, Royal Opera, Covent Garden, September 2012

This prologue to Wagner’s Ring promises a feast of fine singing and acting in the remaining three operas of the cycle.

Alberich and Rheinmaidens, all images ROH/ Clive Barda

Bryn Terfel sang as well or better than I have ever heard him in the role of Wotan, emphasising maturity and self-awareness, showing he realises he has set in motion something against which the treaties on his spear will be powerless. His acting left the audience in no doubt that they were witnessing the start of something very dangerous, confirmed by Loge’s later warning when he sings of the gods hastening to their end.

As Wotan’s wife Fricka, Sarah Connolly sang beautifully, giving the role a hugely feminine charm, and in two days time it will be intriguing to see how she and Terfel interact in their difficult conflict during Act II of Walküre. Such a pity however that fratricide has removed Iain Paterson’s magnificent Fasolt. His engaging appearance in flat cap, carrying a measuring rod of five cubits length, was well matched by his superbly lyrical singing, and when Fafner strikes him down we see the action very clearly as he falls forward against the glass wall facing us.

Gods and telescope

This is one of many fine aspects to Keith Warner’s production, revived by the director himself. The descent to Niebelheim is accomplished by the floor rising, revealing a coldly lit, colourless realm where a cadaver lies on a hospital trolley, and Alberich rapes a woman tied down to another trolley, though Wotan eventually sets her free. Niebelheim is a thoroughly nasty world, but this production also has its light moments. Alberich’s transformations using the tarnhelm are amusingly effective, and right at the end of the opera, the shrewd but flippant Loge takes one of Freia’s golden apples, slices it, and cooks it in a frying pan!

Valhalla awaits

In the meantime Antonio Pappano’s conducting has moved the action smoothly forward, making two and a half hours seem like nothing at all, particularly with such very fine singing from the whole cast. Gerhard Siegel made a superb return to the role of Mime, but many of the cast were new. Wolfgang Koch and Eric Halfvarson sang strongly, making their House debuts  in the bass roles of Alberich and Fafner, and Maria Radner sang a glorious Erda. Stig Andersen made a cheekily lively, if somewhat ungainly Loge, Ann Petersen sang with real feeling in the relatively minor role of Freia, and among the Rheinmaidens I particularly liked Harriet Williams in the role of Flosshilde as she sings seductively to Alberich.

Word has it that the entire cast for this Ring is rehearsing very strongly both in terms of singing and acting, and I eagerly await the next three operas.

There are four Ring cycles, the final Rheingold being on October 26 — for details click here.

Salome, Royal Opera, Covent Garden, May 2012

With superb vocal power and control from Angela Denoke as Salome, and thrilling sound from the orchestra under the direction of Andris Nelsons, it doesn’t get any better than this.

The executioner with the head, all images ROH/ Clive Barda

This was the second revival of David McVicar’s production, first seen in 2008, and Angela Denoke’s second turn at the title role, since her earlier appearance in 2010. As the opera progressed she only got better, and after Herod has offered her everything … ending in desperation with the veil of the Tabernacle, the final repeat of her demand, “Gib mir den Kopf des Jokanaan” (Give me the head of Jokanaan) was hugely powerful. After she gets the head, her voice blended most beautifully with the orchestra. Beauty and horror combine, and following her final words that the mystery of love is greater than the mystery of death she lies down with the head. Duncan Meadows as Naaman the executioner sits with his back to the horror being played out, but finally he turns … slowly … in disgust, and when Herod gives the command he breaks her neck.

Herod, Herodias and others

There are some fine aspects to this production, and the blood is cleverly done. She first gets it on her dress by putting her arms round the executioner, but as she nurses the head there is more and more of it. And the moment when the prophet first comes out of the cistern, and is knocked over by one of the soldiers, is very well judged. But it is absurd the way one of the soldiers keeps aiming a rifle at him. He does this particularly when Jokanaan is trying to get away from Salome, yet no-one draws seems to care when she puts her head in his lap. Surely that is the moment of danger for the princess, if there is one. And should the gun go off when there is no immediate danger to Salome, the soldier is a dead man. Herod has given strict instructions the prophet is not to be harmed.

Salome and Herod, end of the dance

But the singing is glorious. Stig Andersen gave a wonderful portrayal of Herod, and he and Rosalind Plowright as Herodias were both excellent. Egils Silinš was a fine Jokanaan, his voice coming across very clearly when he’s in the cistern, though it seems to come from elsewhere. Will Hartman sang beautifully as Narraboth, but in this revival his death occurred quietly in the background, unlike the first revival, which was a pity. Scott Wilde and Alan Ewing both sang well as first and second soldier, Peter Bronder was superb as the first Jew, and Andrew Greenan came over well as the first Nazarene, describing the miracles of Jesus. It was a strong cast, working well as a team, and held together beautifully by Andris Nelsons, who drew enormous power and lyricism from the huge orchestra.

Diners upstairs invisible from the Amphi

The lighting was brighter in this revival, which was good, but from the front of the Amphitheatre only the legs of the upstairs diners can be seen, and the backdrops to the dance are barely visible. But go for the music and the singing — they’re terrific.

Performances continue until June 16 — for details click here.