Maybe because I wasn't brought up listening to his music in the way I was with Italian and French opera. Or maybe its the extreme length of some of his opera - I mean, almost 6 hours (including intervals) for Parsifal? Really? But most of all I think that I've been put off in the past by the type of singing I've encountered in Wagner - the 'park and bark' style that hopefully is now going out of fashion. For me, Wagner is the sort of opera that is so easy to mock and unfortunately is shorthand for the stereotypical image that opera is subject to. You know the one I mean, a rather large lady dressed in breastplate and horns singing her heart out not very tunefully.
See what I mean. This is what I imagine when I think Wagner. And especially the Ring Cycle. I mean , why tell a story in one opera when you can do it soooo much better in four - Wagner gives the word 'epic' a bad name. And then there's the plot which involves dwarves, gold, dragons and Nordic gods and goddesses. Think Lord of the Rings with better music. Not really my thing. I prefer real people, whether they are Kings and Queens or Parisian bohemians, direct human emotion is what I'm looking for and I expect my opera to give me that in bucket loads. So I don't get Wagner.
Which is not to say that I don't like his music - I do. I've got the requisite CD with the 'best bits' and can hum along to the Ride of the Valkyries with the best of them. I just don't want to watch or listen to a whole opera. Until now.
Yes, its that tenor again. Jonas Kaufmann. Even so I approached Die Walkure with trepidation rather than outright enthusiasm and my heart sank when I ripped through the cellophane to discover 2, yes 2 dvd's. Of course there would be - this is Wagner. Still, there was nothing on the tv and I'm on leave from work so no rushing off for that early night - I could watch this to the bitter end if necessary. But I must admit that I found myself thinking I could always whizz through the non-Jonas bits if necessary.
So, on to the review.
Another reason for my slight apprehension is that this is a DVD from the Met Opera, showcasing their latest production of the Ring Cycle by Robert Lepage, featuring what has come to be know as 'The Machine'. To say that there have been mixed reviews is putting it politely. There's no way to adequately describe this contraption so you're going to need a visual.
That's the Ride of the Valkyries by the way. No horses as you might have noticed. That picture doesn't really do it justice though. This is a fully articulated platform that serves as stage, occasionally as horse, but mostly it seems, as a surface for the many projections throughout the opera. It looks clumsy and dangerous and I for one wouldn't like to be clambering around its many facets and I can only imagine the technical jiggery-pokery needed to ensure everything was alright on the night. Anyway, let's just say it was effective in parts and didn't overly detract from the opera itself. However I did get the feeling that so much attention had been paid to The Machine, that not enough was spent with the singers and the story they were trying to tell. A little more time spent there would have reaped benefits.
Luckily a world class cast was assembled in most of the roles and if its top class singing you're after then look no further than Jonas Kaufmann and Eva-Marie Westbroek playing the incestuous twins Siegmund and Sieglinde, separated when young and now joyfully reunited here. Even in Wagner (and some might say especially in Wagner) Kaufmann's singing is a joy and never descends into stereotypical Bayreuth Bark territory, strong, dark and luscious tone that even I could listen to, Wagner sceptic that I am. Ms Westbroek matched him with some sublime singing and a touching characterisation of the downtrodden wife she has become when Siegmund finds her. However, they were both hampered in Act 1 by The Machine taking up half the stage necessitating all the action taking place downstage. No matter, I was hooked by the love story (yes I'm a romantic) and couldn't wait for the rest of the opera.
Act 2 brought the second reason why I ventured into the Ring Cycle. Bryn Tefel, Welsh bass-baritone playing the King of the Gods, Wotan. He has an enormous presence, both physical and vocal, but uses both aspects with taste and always with focused intent. This is the first time I've encountered his Wotan and I was not disappointed. In fact I was pleasantly surprised at the sheer emotion he managed to convey in his portrayal of this mighty god. He might be a god, but he has the same problems as many human beings, a nagging wife, an errant daughter and a son who he loves but cannot now protect.
And so onto the Die Walkure herself, Brunhilde, here sung by the American soprano Deborah Voight making her debut in the part. Since I have nothing to compare it to and not being a musician I can only say that I found her singing good without being outstanding - especially in comparison with her colleagues. She also acted the part adequately again without being outstanding. Supporting roles were taken well with special mention going to the rest of the the Valkyries who sang and capered around the machine without betraying too much nervousness.
All in all, and much to my surprise I did actually enjoy the whole opera and didn't fast forward through anything. In fact at one point I was reduced to tears when Siegmund dies in his father Wotan's arms.
Nicely played by both singers and gave me exactly what I was looking for - direct human emotion that I could understand.. I was equally impressed by the complexity of the father/daughter relationship between Wotan and Brunhilde. A lot has been written about Verdi's various depictions of fathers and daughters but I really think Wagner hit the nail on the head here, and all the more touching for being totally unexpected. By me at least.
So, am I a Wagner convert? I wouldn't go that far. But at least I think I've come to appreciate the music a little more. And if Kaufmann and Terfel ever bring their Wagner partnership to the Garden - I'll be right in the queue for a ticket. And I think that's definitely progress.
My next review will definitely be of a live performance - Nabucco at Royal Opera this weekend.
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