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Post by vabbian on Sept 3, 2018 20:43:15 GMT
Well done vabbian - I'm going to the cycle starting 26th October. I've lost track of how many cycles I've attended - think this will be my 6th. I hope you enjoy it, my first one absolutely blew me away, it really is one of the great music experiences, if not the ultimate. One regular at the ballet always takes in her own folding stool (the sort people take fishing!) and she seems to get away with it. Good luck getting a job at The Garden. Mine starts 16th October Going to listen to a few recordings before next month to familiarize myself with the music I've never stood before, the idea of it sounds ghastly, but I would kick myself if I missed tickets for this The job is for a part time usher, who knows, if I get it, I might end up being inside the auditorium for all Ring Cycle performances!! 😂
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Post by Michael on Sept 4, 2018 0:38:19 GMT
Threads merged
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Post by theatremad on Oct 11, 2018 19:02:03 GMT
Ring Cycle virgin here coming to Cycle 4. Heard it a couple of times never seen
Be cool to meet up with anyone else going and compare notes as there on own. Sat in the Amphitheatre
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Post by vabbian on Oct 17, 2018 11:21:58 GMT
I am Cycle 3! Stalls circle! Saw Das Rheingold last night, was fab!
Have seen countless productions at ROH, but I don't remember seeing set design or staging as grand and complex as this. Truly a spectacle.
Lise Davidsen was divine as Freia, despite having a small singing part, Aalan Oke as Loge was also a standout due to his charisma.
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Post by n1david on Oct 17, 2018 12:47:55 GMT
I am doing Cycle 4, starting next Friday, and excited - but also a little intimidated.
I spent most of Sunday afternoon at the ROH, doing their Discovery Day on the Ring, and I have to say they put together a tremendous package - from a brief outline of the story (it was only 50 minutes so couldn't possibly fit everything in), an introduction to the music and the motifs, a talk from the people behind the staging, and a general discussion about the significance of the Ring. So I feel a bit more prepared now...
Oddly I don't think twice about 7 hours in one day for The Inheritance, or longer for all-day sessions of The James Plays or Young Chekhov, but six hours of an opera (and that with long intervals) still feels like a bit more of a challenge!
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Post by theatremad on Oct 18, 2018 8:46:04 GMT
I am doing Cycle 4, starting next Friday, and excited - but also a little intimidated. I spent most of Sunday afternoon at the ROH, doing their Discovery Day on the Ring, and I have to say they put together a tremendous package - from a brief outline of the story (it was only 50 minutes so couldn't possibly fit everything in), an introduction to the music and the motifs, a talk from the people behind the staging, and a general discussion about the significance of the Ring. So I feel a bit more prepared now... Oddly I don't think twice about 7 hours in one day for The Inheritance, or longer for all-day sessions of The James Plays or Young Chekhov, but six hours of an opera (and that with long intervals) still feels like a bit more of a challenge! Im with you David on this but cannot wait. More worried about 2hrs 40 straight through to be honest. Will add a face pic shortly. Say hi if see me
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Post by tmesis on Oct 18, 2018 17:05:11 GMT
I am doing Cycle 4, starting next Friday, and excited - but also a little intimidated. I spent most of Sunday afternoon at the ROH, doing their Discovery Day on the Ring, and I have to say they put together a tremendous package - from a brief outline of the story (it was only 50 minutes so couldn't possibly fit everything in), an introduction to the music and the motifs, a talk from the people behind the staging, and a general discussion about the significance of the Ring. So I feel a bit more prepared now... Oddly I don't think twice about 7 hours in one day for The Inheritance, or longer for all-day sessions of The James Plays or Young Chekhov, but six hours of an opera (and that with long intervals) still feels like a bit more of a challenge! Im with you David on this but cannot wait. More worried about 2hrs 40 straight through to be honest. Will add a face pic shortly. Say hi if see me If Pappano gets his skates on he should be through Das Rheingold in 2hrs 30 mins. You shouldn't worry, it's a fantastic 'preliminary evening ' as Wagner thought of it and you just get swept up in the majesty of the music. By the time you're experiencing Gotterdamerung your whole time scale should have adapted and the first section, comprising of prologue and Act 1, lasting around 2hrs 10mins, is almost as long as the whole of Das Rhinegold and you've still got two long acts to go! Even I will admit there are moments when one of the characters is retelling the history of the gods and you wish Wagner would get a move on but this is more than made up for by the numerous sublime, transcendental moments and the culmulative effect is like nothing else in not only music but I would say any of the arts.
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Post by n1david on Oct 18, 2018 23:12:40 GMT
I'm now wondering about how to spend a 75 or 80 minute interval. Guess I have to think about it as being like a break between two shows rather than an interval in the middle of one and head off to get some dinner. We decided to splash out for dinner at the ROH for Gotterdamerung but for the previous two I'm not entirely sure how to deal with the long interval. Suppose we should head out for a quick dinner somewhere as drinking in the Floral Hall for that length of time is probably not helpful to understanding the following acts...
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Post by Mr Snow on Oct 19, 2018 10:06:29 GMT
I saw Cycle 2 and as tmesis suggests, the experience is overwhelming. I can’t attempt to critique it or describe how I feel about this experience which is more immersive than anything else I’ve ever experienced. It’s now 5 years since I saw it at the Proms and that interval seems about right. I now have my name down on the Bayreuth waiting list.
I found the late intervals meant I could just wonder down to the new Joe Allen’s without a reservation and eat one course in total comfort. ON the Bab another night.
Enjoy.
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Post by vabbian on Oct 19, 2018 12:42:06 GMT
Saw Die Incest Walkure last night, start time 4:30pm, end time 10:10pm
Despite having standing tickets, I am not finding the length too bad actually, I think with the intervals it is very manageable.
I just went to pret and got a coffee and read for the 80 min interval
If I have one nitpick with the production so far, it is the costuming. I am sure the intent was to keep it minimalist/modern in line with the set, but I would love some more eleganza extravaganza moments. Especially for the gods!!
I was unimpressed when the valkyries came out looking like basic bitches, but again, I am sure that was the intent
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Post by Mr Snow on Oct 19, 2018 15:09:45 GMT
Saw Die Incest Walkure last night, start time 4:30pm, end time 10:10pm Despite having standing tickets, I am not finding the length too bad actually, I think with the intervals it is very manageable. I just went to pret and got a coffee and read for the 80 min interval If I have one nitpick with the production so far, it is the costuming. I am sure the intent was to keep it minimalist/modern in line with the set, but I would love some more eleganza extravaganza moments. Especially for the gods!! I was unimpressed when the valkyries came out looking like basic bitches, but again, I am sure that was the intent Oh to be young again! Les Enfants du Paradis.
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Post by tmesis on Oct 27, 2018 21:19:11 GMT
Das Rheingold
This was musically good rather than outstanding last night. The main problem is John Lundgren's Wotan. I've probably been spoilt by hearing Bryn Terkel and John Tomlinson in the role (not to mention Donald McIntyre and Norman Bailey decades ago) but he is not in that league. He produces a very pleasant tone but lacks charisma and, worryingly ran out of steam before the end. Maybe he's tired, this being the final cycle, but this does not bode well for his big sing in tomorrow night's Die Walkure. Also, it pains me to say, I found Pappano's conducting a bit lightweight. It started with an amazingly atmospheric prelude, the best ever at The Garden, but then he rather breezed through it and key musical moments were not given their due gravitas.The best singing came from Lisa Davidson as Freida, Sarah Connolly as Fricka and Alan Oke as Loge - his was the most satisfying performance of the evening.
I also think the production is not wearing that well. Parts of it this time reminded me of The Mighty Boosh and the Rubik's cube like tarnhelm is pathetic. Lots of money has been chucked at the various set designs but far cheaper productions have achieved much more. The 1980s WNO production is a case in point where there was little actual design as such, just imaginative lighting and faith in Wagner's superb music producing epic results. At the end, last night, The Entry of the Gods into Valhalla was a massive let down, with most of the gods feebly climbing some ladders and Wotan jumping into a hole ih the ground.
I'm hoping things pick up tomorrow with Nina Stemme's Brunnhilde.
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Post by tmesis on Oct 27, 2018 22:59:21 GMT
Bryn Terkel = Bryn Terfel!
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Post by n1david on Oct 28, 2018 11:07:44 GMT
Thanks for your interesting post tmesis - I am a Ring newbie but did not find Das Rheingold as enjoyable as I had hoped, I too thought Wotan was a bit underpowered and was not as involved in the music as I had expected. Nonetheless I know that Das Rheingold is a "preliminary evening" and so I am looking forward to things getting into their stride tonight. I'd be very interested in what you think after seeing Die Walküre.
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Post by tmesis on Oct 29, 2018 15:44:15 GMT
Die Walkure
Things were much better last night and I thought the performance had moments of real greatness, mainly because of the awesome performance of Nina Stemme as Brunnhilde. Her most testing moments are to come, but I couldn't imagine the part better sung today - she has the power, but there is no wobble and also moments of great beauty. Emily Magee was disappointing as Sieglinde (not much tonal beauty there) and so, somewhat, was Stuart Skelton as Siegmund. He's certainly got the power but his Spring Song was lacking in poetry, although he was much better when singing in duet. Ain Anger was outstanding as Hunding, both vocally and physically. The most testing role in Valkyrie is Wotan's and John Lundgren was considerably better tonight. The part is ridiculously demanding and the last half hour, when fatigue is setting in, has arguably the most challenging music a baritone is asked to sing in all opera. It is also about the most glorious half hour in all opera - its only rival is the last part of Gotterdamerung - so no pressure there! There were some beautiful moments, but he couldn't quite sustain the long lines that Wagner demands, and he still lacks the sheer chasima needed. I do believe he will grow into the role, though, and I'd love to hear him again in about five years' time. Pappano's conducting was much better tonight - magnificent at the end - although I still remain a little disappointed.
The production continues to irritate. An unnecessarily cluttered stage for most of the time with the epic moments of the drama botched, and worse, trivialised. The Ride of the Valkyries was laughably badly staged, and the Magic Fire bit at the end, although using real fire, was feeble, more appropriate for a production of Barnum than Wagner.
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Post by Distant Dreamer... on Oct 29, 2018 16:34:20 GMT
Halfway though the Ring Cycle is certainly a moment to reflect in the enormity of the experience and also to share my comments with you. Das RheingoldI adore Keith Warner's highly symbolic and visually colourful production, but despite being a very engaging start to the cycle there were vocal as well as staging inconsistencies which marred a perfect prologue. There were certainly gremlins (and not Niebelungens!) haunting this performance. The most noticeable was the black curtain almost got stuck before the rise to scene 4 which snagged then rose with a clanging noise which resulted in a team of concerned crew members flashing torches up into the flies to see if it was safe! John Lundren's Wotan had complications upon his first entrance and didn't manage to fully hide his World Ash Tree branch beneath the set before exchanging it for his spear, you could see the branch poking out throughout the whole performance. The spear also wanted to roll away from him at many moments. Another amusing incident occurred when Markus Eiche's Donner threw something into the cupboard in scene 4 only for it to bounce back off the wall straight back at him. The best of the evening had to be scene 3 where Alberich performed his transformations and John Lundgren managed to cut off one of Alberich's fingers (from a prop hand I have to add)! After a few audience tiggers the severed finger was thrown hastily into the wings! I saw Bryn Terfel in the 2012 revival and in comparison John Lundgren is a masterful, highly engaging and authoritative Wotan. I felt Bryn lacking in vocal power required, although his acting was very good. Further accolades this time go to Sarah Connolly reprising her moody Fricka as well as Brindley Sherratt who was a devilishly devious Fafner. Johannes Martin Kränzle displayed great depth of understanding as Alberich and it will be great to see what he can conjure in Siegfried and Götterdämmerung. The vocal weakness came from Lise Davidsen who was misscast as Freia, too much vocal power and not any hint of the seductive beauty of the Gods. Nevertheless a very engaging evening. Die Walküre
This performance was of the highest quality, the sets behaved themselves but a few cast were ill at ease. The undisputed star of the evening was Stuart Skelton making a smashing ROH debut. He has a beautiful lyric line and great expression to his voice, hopefully he will be seen back in the not too distant future. John Lundgren excelled as Wotan really reaching emotional depths into the role and displaying so much power. Nina Stemme's first UK Brünnhilde was impressive, but the wobble of her voice occasionally took away the expression (notably on her first entrance), but I feel she will be truly exceptional in the remaining operas where Brünnhilde undergoes her transformation into a woman. Emily Magee was disappointing. Her acting was strong, but vocally she was not assured as Sieglinde. In Act 3 she pushed her voice too much and cracked a few times. She later plays Gutrune in the cycle which I expect to be a better fit for her voice. Ain Anger was also not commanding or scary enough as Sieglinde's husband. On both occasions the ROH orchestra were on true form with Pappano masterfully leading the way. 2 more to go
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Oct 29, 2018 18:11:12 GMT
Quite a few of us there this week!
Enjoying it a lot so far. I find watching Wagner has a strange effect on my perception of time and it was surprising at the end of Rheingold for instance to find that 150 minutes had passed.
Something of a sense of humour failure last night as one of the cameras for the cinema screening was directly in front of me - a few rows in front but it did obstruct part of the stage a points and the light was very distracting. Waiting for a response by email from the ROH after I complained on twitter.
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Post by Mr Snow on Oct 30, 2018 6:55:47 GMT
Nina Stemme's first UK Brünnhilde was impressive, but the wobble of her voice occasionally took away the expression (notably on her first entrance), but I feel she will be truly exceptional in the remaining operas where Brünnhilde undergoes her transformation into a woman. Not quite. www.bbc.co.uk/events/eddn3d I saw the 2nd cycle and she impressed throughout. Although somehow she seemed even better 5 years ago. Re others comments. I always look forward to Papano conducting, but agian Barenboim seemed to have more sweep and magic. None the less I was very pleased with my first exposure in the Opera house. Have now registerred with Bayreuth and will make efforts to see a Ring Cycle every 5 years or so. Wish I could be there for final two nights.
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Post by Mr Snow on Oct 30, 2018 6:56:50 GMT
Quite a few of us there this week! Enjoying it a lot so far. I find watching Wagner has a strange effect on my perception of time and it was surprising at the end of Rheingold for instance to find that 150 minutes had passed. Something of a sense of humour failure last night as one of the cameras for the cinema screening was directly in front of me - a few rows in front but it did obstruct part of the stage a points and the light was very distracting. Waiting for a response by email from the ROH after I complained on twitter. Please let us know their response, it must have been very annoying.
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Post by Distant Dreamer... on Oct 30, 2018 11:50:18 GMT
Nina Stemme's first UK Brünnhilde was impressive, but the wobble of her voice occasionally took away the expression (notably on her first entrance), but I feel she will be truly exceptional in the remaining operas where Brünnhilde undergoes her transformation into a woman. Not quite. www.bbc.co.uk/events/eddn3d I saw the 2nd cycle and she impressed throughout. Although somehow she seemed even better 5 years ago. Thanks for correcting me, I meant to say her first staged UK performance.
That's a shame you aren't able to attend the remaining performances
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Post by bellboard27 on Oct 31, 2018 20:37:04 GMT
At Siegfried tonight I’ve seen quite a few that were at Myerling last night. Clearly there’s quite a few that can’t leave the ROH alone.
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Post by Mr Snow on Nov 1, 2018 8:14:48 GMT
At Siegfried tonight I’ve seen quite a few that were at Myerling last night. Clearly there’s quite a few that can’t leave the ROH alone. At both my Ring Cycles I've talked to the stranger sitting next to me. in events 5 years apart, they were of different sexes and races and they both managed to fit in a visit to a different Wagner Opera outside of the Ring within the same week! Some people can't leave Wagner alone!
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Post by tmesis on Nov 1, 2018 9:07:36 GMT
Siegfried
Overall this has been the most consistently satisfying opera, so far, in the tetralogy. The production, more especially the design, has a quite a few annoying moments but is, on the whole simpler and less cluttered, allowing the drama to unfold naturally. Act one is particularly good but I hated the first encounter of Siegfried and Brunnhilde done in shadow play. There is a wonderful frisson in the music there that, at this point, the staging totally worked against.
John Lundgren gave his best performance so far as Wotan (Wanderer.) The part is, on the whole, lower in this opera and I think he is more comfortable in that part of his voice. Anyway, everything came together last night and he gave a charismatic, beautifully sung performance - the best singing of the evening - that would be hard to better in the world today.
I feel churlish complaining about Stefan Vinke's performance as Siegfried. The guy is an absolute phenomenon; such power and superhuman reserves of stamina and the voice is rock steady. But it's totally unyielding; no light and shade and he didn't sing a single phrase with elegance or feel for the natural phrasing of the music. I realise it's an impossibly difficult role to cast but a singer from the past like Alberto Remedios, whom I saw many times in the role, was able to give heft, stamina but crucially, beauty and refinement too. I also felt Nina Stemme was not at her best last night - the voice had much more of a wobble than in Die Walkure. However, the long final duet was quite thrilling and would be difficult to equal on the world stage today.
Pappano's conducting was also much better last night. The scherzando elements of the first act really suit him, but then he was able to relax wonderfully for the love duet. There is not so much music in Siegfried that requires the 'grand gesture' which I think he does less well.
Overall Pappano conducts one of the fastest Rings ever!
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Nov 1, 2018 10:43:12 GMT
At Siegfried tonight I’ve seen quite a few that were at Myerling last night. Clearly there’s quite a few that can’t leave the ROH alone. At both my Ring Cycles I've talked to the stranger sitting next to me. in events 5 years apart, they were of different sexes and races and they both managed to fit in a visit to a different Wagner Opera outside of the Ring within the same week! Some people can't leave Wagner alone! I guess if you have travelled to see the Ring Cycle you have to find something to do on the nights off! Enjoyed Siegfried a lot last night. Particularly as I didn't have a camera stuck in front this time.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Nov 1, 2018 15:12:12 GMT
Something of a sense of humour failure last night as one of the cameras for the cinema screening was directly in front of me - a few rows in front but it did obstruct part of the stage a points and the light was very distracting. Waiting for a response by email from the ROH after I complained on twitter. Please let us know their response, it must have been very annoying. They've got back to me and offered a partial refund which I'm happy with. They said they don't normally view those seats as restricted for cinema relays which surprises me. Recommend avoiding booking seats at either extreme edge of the stalls for a performance which is being relayed to cinemas.
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Post by Distant Dreamer... on Nov 1, 2018 15:16:42 GMT
Siegfried
Overall another revival. I continue to find Keith Warner's little directorial touches fascinating. In this production, for example, we have Act 1 set in the ruins of a plan. Remember there was a model plane taken from Niebelheim in Das Rheingold which has belonged to Mime? Well it's almost as if the story has come full circle (excuse the pun!) and Mime in the meantime has created his plane and then managed to crash it! Also interesting to note the juxtaposition of Mime's commercial plan created to make men fly, versus Siegfried's enlightening Woodbird. I also admire how everything is in a state of decay as you leave Rheingold. Wotan in Siegfried has white hair and his clothes are shabby, Mime also has white hair and a frayed coat.
I also really like how this production shows the destructive power of the ring which literally eats away at the flesh of those it corrupts. Note Alberich's arm has half the raw muscle now exposed, likewise Fafner on his head (if you were keen eyed you could also spot a little bit of damage on Wotan's hand even though he only touched the ring for a while).
The staging is impressive in Acts 1 and 2 as has already been said, although with such vast sets it's interesting how in these acts all of the action is directed almost in front of the proscenium. Act 3 is terribly staged, and the intimacy and Brunnhilde and Siegfried's love duet was totally ruined by projections, and then singing passionately either side of the vast stage! And...would Siegfried who barely knows the difference between a man and a woman really jump on top of her at the end to start sexual fun? In fact, if Brunnhilde did have a child that would have added an interesting dimension to the story!
The star was Gerhard Siegel who is a triumph as Mime. He has played the role in every revival in this production and he never stops acting and he is so expressive with his voice. I do feel sorry for his character too as he was corrupted by his brother, and i think Keith Warner takes a more sympathetic view too as his directs the Woodbird to place some flowers on Mime's dead body.
Stefan Vinke acted as treat too, but he was massively underpowered and tired in the Act 3 love duet. There was little shade and expression to his voice by this point and he certainly sang this role better in the 2012 revival, but then again this is far from an easy role!
Nina Stemme appeared to be half asleep even after Brunnhilde had awoken. Her singing was poor on this occasion. Lots of wobbles, forced high notes and some ugly sounds suggested she was having a bad performance. She also had a few slips and trips around the stage! Let's hope she regains her composure for Gotterdammerung otherwise it will be a painful experience!
Pappano produced some truly exquisite sounds from the pit, and in record speed too! One opera left and it will be a sad occasion to see this production go as I have much fondness for it.
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Post by tmesis on Nov 3, 2018 11:02:48 GMT
Gotterdammerung
This was a wonderful performance last night. The production finally comes fully into focus. The Gibichungs' hall had one of the longest sofas ever seen and there was an impressive conflagration at the end. I also loved Gunther's dapper whistle.
It was also musically very fine indeed and, at times, as good as it gets today or in the past. Gunther may have been sporting a fetching suit but that was the only thing that pleased me about his performance. His underwhelming singing was the least good all evening. Also Stefan Vinke was less impressive than in Siegfried. I still can't warm to his strong, but monotone delivery and he was flagging a bit towards the end, with some quite dodgy intonation - lots of under-the-note attack. The Norns and the Rhinemaidens were superb. Emily Magee was so much better as Gutrune than as Sieglinde and Stephen MIlling was outstanding as Hagen, both physically and vocally. Nina Stemme kept her vibrato in check and delivered probably the best immolation scene I've ever heard live.
Pappano conducted a powerful (but not always together) funeral march. He again kept things moving but it never felt rushed. I was not that impressed by his Das Rheingold or Die Walkure but he was much better in Siegfried and this was better still - he was at last able to give the epic moments their full gravitas and the last twenty minutes were transcendent. Plaudits to the 1st clarinet and bass clarinet whose many statements of Brunnhilde's love leitmotif were heavenly.
It was also much appreciated that the whole orchestra and stage crew were up on stage at the end to take a well deserved ovation.
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Post by Distant Dreamer... on Nov 4, 2018 12:07:40 GMT
Götterdämmerung I always find reaching the end of a cycle invokes many emotions in me. By this time I feel emotionally and physically drained, but ultimately by the end of the evening I feel totally awestruck once more at the enormity of Wagner's achievement. I would have to hear a very convincing argument against Der Ring Des Nibelungen being the greatest achievement in the history of opera. As the music fades away to the same E-Flat chord you began upon in Das Rheingold your journey is complete, but that musical symphony will always remain with you.
Pappano and the orchestra were the stars of the evening. Together they produced some of the most exquisite sounds i've ever heard at the ROH. The way Pappano slowly measured his way through Siegfried's death and the immolation music was masterful.
Within the staging a few gremlin's decided to appear again as in Das Rheingold. Notably one of the trap doors didn't close fully and gave the stage crew something to ponder upon for a while, and one of the wings got momentarily trapped in the set. Well done to the crew for resolving these tricky issues without disturbing the on stage performances which I'm sure was no easy task. Stefan Vinke also lost his spear fragment later on in Act 3 which rolled off the stage and down towards the pit, luckily not going over the edge! The sets for this opera were the least convincing. The walls of the Gibichungs resemble the patternation of the Tarnhelm, but I find them a little drab and lacking in depth for my taste. As has already been mentioned, that is one hell of a sofa they have though! Little touches to the production remain very satisfying like the dead body of Erda in the prologue shocking her norn daughters (remember in this production Wotan kills her with is spear) and Loge dying at the end after summoning his last fire to consume the world.
The signing was rather patchy. The best singing actually came from Irmgard Vilsmaier was the second Norn, surely this woman deserves better roles in future? Special mention should also go to Karen Cargill who made a vocally thrilling Waltraute, even if her acting was weak.
Stefan Vinke's stamina has to be admired, but he did not reach the emotional depths required vocally to create enough emotion. Nina Stemme was certainly on better form that in Siegfried, but I have serious concerns with her vocal technique. Her upper notes were often sharp, forced, wobbly and lacking expression. This detracted from an otherwise masterful performance, especially in Act 2 which she displayed the whirlwind of Brunnhilde's emotions to perfection. Stephen Milling was a weak Hagen (and who decided to give him such an awful wig?!) both vocally and in acting. Emily Magee was excellent as Gutrune, seductive both visually and vocally when required. Markus Butter did the best he can with the weakest character in the ring!
It was so touching to see the full orchestra and crew upon stage at the end for their curtain call. This production holds a special place in my heart and I am very sad to see it go, I just wish it could have been filmed for DVD release.
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Xanderl
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Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Nov 4, 2018 13:17:29 GMT
The person next to me at Gotterdamerung observed that the walls of the Gibichung Hall were reminiscent of the Floral Hall at the ROH, and that perhaps this is deliberate. Interesting point!
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Post by tmesis on Nov 4, 2018 15:42:35 GMT
As the music fades away to the same E-Flat chord you began upon in Das Rheingold It would have been a wonderfully neat and symbolic idea to begin and end such a mammoth undertaking with the same chord with which you started, but Wagner actually ends Gotterdammerung in D flat, and the final chord of the whole cycle is a sumptuous D flat major.
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