First Day: Die Walküre

Wagner stipulated that his tetralogy is to be performed in three days and one preliminary evening. In this scheme of things, the first of the four operas, Das Rheingold, is a prologue. I don't quite get the logic of it, but nevertheless, this somehow puts Die Walküre in the first place. Indeed, it is the most popular and best known of the four Ring operas. Perhaps that's why it opened with more fanfare (literally) on Monday than the "prologue" two days ago.

Ring's "First Day" opens with fanfare on Alpenhorns

After seeing Christine Goerke in Florencia an el Amazonas a few years ago, I said she was my new favorite soprano. So when it was announced that she would replace the indisposed Catherine Foster as Brünhilde at least for the evening, I was curious but admittedly a little suspicious, despite her reputation as a Wagnerian. Florencia is one thing and Brünhilde quite another, and my taste rarely conforms with reviewers' opinions.

Well, Goerke dispelled any doubt I might have had when she hurtled onto the stage, seemingly from a riding session, for a meeting with her father. She was in excellent voice, sang effortlessly throughout, and her presence was electrifying after a somewhat disappointing Siegmund/Sieglinde duo (Christopher Ventris and Meagan Miller). It is a pity that Goerke's expressive voice was drowned by the orchestra in some of the most sensitive moments of her encounter with Siegmund.

Another star of the evening for me was Alan Held as Wotan. From a ruthless god in Das Rheingold he transitioned into a father torn between love and duty. His torment after killing out-of-wedlock son Siegmund is so genuine that I felt a lump swelling in my throat and I am far from sentimental. He was equally poignant in his farewell to Brünhilde. When I first saw Held's Wotan, he turned from the charming young seducer of Das Rheingold into a more mature man/god of Die Walküre and finally into an old tramp in Siegfried. This time around he displayed a more profound understanding of Wotan's character and his dilemmas. 

As heralded in Das Rheingold, Francesca Zambello's "American Ring" has undergone a lot of refinement since I last saw it. The popular ride of the Valkyres, with warrior women parachuting onto the stage, was spectacular and a clear favorite with the audience. I liked the way the uniformed women lined up before Wotan as if he were their military commander, not father. Real German shepherds were running across the stage to sniff out the runaway twins. And Wotan lit real fire around his disobedient daughter. That last scene was not only spectacular but a little frightening too.

Closing scene from Die Walküre was encored in my kitchen 

Some of the things that bothered my the first time around were still there and now I know why. When Placido Domingo sang Siegmund in the earlier production, I remember thinking: well, hasn't he aged, look at how his shoulders are stooped! But when I saw the same hump on a much younger Christopher Ventris on Monday, I had a better view from a seat closer to the stage, and saw that the problem was in the coat, not Domingo's back. The coat has a pleat in the upper back that opens when the singer bends, making him look like a hunchback. Hasn't the designer noticed that with all the bending between Siegmund and Sieglinde?

A propos bending, I used to think that Anja Kampe (WNO's 2007 Sieglinde) was unable to assume more than two different postures on the stage: one with her arms wrapped around her waist, the other with her arms spread out; both while leaning heavily forward. I was therefore surprised to see her as a seductive and quite creative Tosca two years ago in Berlin. Miller's Sieglinde on Monday showed a wider range of motion and expression than Kampe's, but bending forward was her main shtick as well, suggesting it has more to do with die Regie than the interpreter.

New patrons probably won't notice any of this as they get carried away by the drama unfolding on the stage. Zambello's concept of Americanizing The Ring worked very well in Die Walküre as it did in Das Rheingold, and how could it not with our CEO's acting like gods, many of our young people serving in the military, numerous children being abandoned by parents and women still being punished for being assertive. The first scene of Act I could be taking place in the Appalachia, or in any remote, gun-toting community that abides by its own laws and honor code. The encounter between Wotan and Fricka could have been a scene from a convincing new version of Citizen Cane.

In answer to the traditionalists who reject Wotan in a three-piece suit, here's how Sir Denis Forman paraphrases Wotan in A Night at the Opera: "I won the world by making some pretty dodgy deals with certain doubtful operators" and "I can't attack Fafner because the deal I did with him specifically excludes aggression." Forman was born in 1917 and the book is from 1994. We are in 2016 if I am not mistaken.

Wagner's impact is powerful - I was only too aware of it when the smell from my kitchen  back home reminded me that I had forgotten to turn off the stove before leaving for the opera. During the five-hour absence, what was supposed to be a home made beef soup turned into a pile of charcoals at the bottom of the pot.  My apprehension about the stage fire was actually a premonition.

Washington's Wagner Ring Draws Young and Not So Young

The night before the Washington National Opera's grand opening of its first complete Ring cycle, I was having dinner with friends who commented on the fact that the tickets were sold well in advance and that people were traveling from far and wide to see it. Almost like a pilgrimage, they said. But one gentleman hailing from California bemoaned the future of the opera in general. He said he was seeing only elderly people at the opera and wondered what will happen when this generation is gone. On the opening night Saturday at the Kennedy Center, the audience was far from old. In fact, grey heads were in the minority any many people looked younger than 30. There was not one empty seat in the venue that sometimes has difficulty filling the house for the most popular of operas. What magic is Wagner's Ring wielding to draw crowds wherever it shows up?  

For sure, much of its attraction is due to the timeless themes of love, power and greed. But I think what makes it irresistible is the way in which Wagner wrapped these themes in the tapistry of ancient myths and classical fairy tales, that fascinated us in childhood and continue to speak to our inner child. What woman would not like to be woken up by a kiss from a true hero and what man would not like to wield power over the world, or at least over his own life.  So it is consoling to see the rich, the powerful and the beautiful who are as flawed and as vulnerable as we are, and have to atone for their sins just like we do for ours.  

The opening night suggests that Wagner has young fans...

...and attracts diverse audience

I saw my first complete Ring in the 1980's thanks to the WETA Television broadcast of a Met recording. I planned to "suffer" through it as a matter of education. But instead of dreadful boredom and fatigue I expected, even the longest operas kept me awake and mesmerized.  I could not wait for the next evening to see who did what to whom, just as in the past I had waited for a new season of Dallas to see who killed J.R. And there started my love affair with the Ring.

In his book A Night at the Opera, Sir Denis Forman says: "There was a time when Wagner and especially The Ring divided mankind into the Wagnerites and the rest. Today the war is won." And guess who is the winner!

Das Rheingold, Scene 3, Alberich and the enslaved Nibelungs

On Saturday night at the Kennedy Center, when the first Ring cycle opened with Das Rheingold or The Rhinegold as the WNO calls it, the undisputed winner was Wagner. The first of the Ring operas was last seen here 10 years ago, the other three followed one by one. The production I remembered as being firmly grounded on the American soil - with gold prospectors, robber barons and Erda as a Native American in a fringed suede dress, moccasins and feathers in her hair - has seen much improvement. I liked it well the first time, but the new version has a dreamy quality to it, including video projections of falling water, the mist rising over the river and changes in costuming that suggest universality and timelessness. In another fun new touch, this production has Freia afflicted with Stockholm syndrome, reluctant to  leave her captor Fasolt. 

A couple of chat forums took me by surprise with expressions of outrage that Wagner's gods should be using cell phones and boarding a cruise ship called Valhalla, instead of entering some sort of Norse heaven. For me Wotan, Donner, Frohe, Loge, Freia at alia were not gods even in the original version, but rather a privileged upper class fighting to retain its status. If you believe Bernard Shaw, The Ring expresses Wagner's view of his own society. In his booklet The Perfect Wagnerite, which I highly recommend, Shaw gives a detailed account on the subject. There were greedy industrialists in the 19th century as there are greedy businessmen today. Ecologists could argue that The Ring speaks in defense of the environment and protection of natural resources. In any case, why would it be easier to find Wotan more believable as god than as a CEO of a global corporation? Even the British queen calls her domain "the firm." 

Francesca Zambello had good reason to envision places and characters from the Ring in the United States. As I watched Das Rheingold, every scene and every dialogue made me think of something happening in the world today: Wotan and his group - of the political leaders of our time, weakened by the need for money and their own vanity, Alberich exploiting the Nibelungs - of a Chinese industrialist squeezing the life out of cheap labor.  Laws in The Ring are made to be broken even by those who make them; heroes are naive and therefore vanquished... 

And all this comes wrapped in some of the finest music ever written. Maestro Phillipe Auguin did a great job on Saturday safely guiding a huge ensemble of singers, players and extras through the treacherous waters of the mighty river, which is Das Rheingold opera. Overall, I think I was more impressed than 10 years ago, and I was impressed then too. In terms of portrayals it was good to hear fresh voices.  Lindsay Ammann's Erda, William Burden's Loge, Rhein maidens of Renée Tatum, Jacqueline Echols and Catherine Martin and giants Fafner (Soloman Howard - can't wait to hear him in Siegfried) and Fasolt (Julian Close) stood out for me.  It was a little surprising to see the return of some familiar faces in no less than the main roles. Alan Held as Wotan was as solid as I remember him, and Elizabeth Bishop's Fricka was as bland as I remember her from a decade ago. I could never quite understand Washington's infatuation with Bishop, but there it is.

Overall, it was a memorable opening of the cycle, certainly worth a trip to Washington. Even though I know who does what to whom in the next installment, I still can't wait to see it.

If literature on Wagner is to be believed, few contemporaries liked him except Ludwig II and Cosima von Bulow. His progeny also has a dubious reputation. But even his worst enemies today can hardly deny the glory of Wagner's music.