If someone had told me three years ago that I would sit outside in a steady drizzle to see a Wagnerian opera (and one with no intermission), laughter would have been my first response, quickly followed by the question of what powerful hallucinogenic drug had prompted such a suggestion. The prediction that I would have bought a ticket eight months in advance to one of Wagner’s five-hour operas would have provoked a similar reaction. Much to the amazement and amusement of my Wagnerite friends, I can add these to the growing list of occurrences over the past decade that I never thought would happen.
Opera fans living in New York might realize I am referring to the Metropolitan Opera’s season opening Das Rheingold, in September 2010 and Die Walküre, which, as I write this, is opening tonight. Friends of mine now delight in reminding me of the years I steadfastly refused to accompany them to an evening of Wagner. (Instrumental excerpts would have been tolerable, but not an entire Wagnerian opera.) A final attempt by one, (“But, it’s Die Meistersinger – a Wagner comedy!) resulted in me advising him that I would rather be home ill with the vapors for five hours. My anti-Wagner stance was considered a cultural character flaw. I was even regarded with derision and labeled a “philistine”!
Even as recently as March, 2009, I struggled through the Wagnerian excerpts at the Met’s 125th Anniversary Gala. “That’s it”, I told the friend who came with me, “If Placido Domingo can’t make me appreciate Wagner’s operas, it’s just not going to happen!” Within weeks of the concert, hearing tenor Jonas Kaufmann’s hauntingly beautiful rendition of The Prize Song from Die Meistersinger started to change my perspective. Later that year, after Kaufmann’s highly-acclaimed role debut in Lohengrin, the YouTube excerpts showing Kaufmann and soprano Anja Harteros appeared to me as romantic as any of the French and Italian works I’ve always loved. Thanks to a friend in London, I had a copy of the DVD before it was released in North America. Repeated viewing quickly made subtitles unnecessary for certain scenes, such as Kaufmann and Harteros’s gorgeous love duet in Act III; Das süsse Lied verhallt. Their expressive acting and glorious singing even makes the unfortunate set design less glaring.
Opera fans living in New York might realize I am referring to the Metropolitan Opera’s season opening Das Rheingold, in September 2010 and Die Walküre, which, as I write this, is opening tonight. Friends of mine now delight in reminding me of the years I steadfastly refused to accompany them to an evening of Wagner. (Instrumental excerpts would have been tolerable, but not an entire Wagnerian opera.) A final attempt by one, (“But, it’s Die Meistersinger – a Wagner comedy!) resulted in me advising him that I would rather be home ill with the vapors for five hours. My anti-Wagner stance was considered a cultural character flaw. I was even regarded with derision and labeled a “philistine”!
Kaufmann’s Met role debut in Tosca last April was my first opportunity to hear him live. As if that wasn’t cause for celebration enough, seeing Kaufmann and bass-baritone Bryn Terfel on stage together was a monumental experience. I knew then that Wagner’s Ring Cycle was in my future. I began my live Wagnerian experience soon after with Der fliegende Holländer (“The Flying Dutchman”) at the Met and was especially moved by the first meeting of Senta and the Dutchman.
Not being able to obtain a ticket to be inside for the first Rheingold, I secured two seats for the screening outdoors, in front of the Met. The drizzle kept my friend at home, but I was ready for the weather and so was the crowd; in a festive mood, despite the dreary skies. The Rheingold overture is dazzling. I can understand why it has been featured in movie scores, for if there was music to accompany the beginning of the world, it must have sounded quite similar to this. And, this was another evening of powerhouse performers, as there was the pleasure of Terfel and mezzo Stephanie Blythe, either of whom could sing me the phone book and I would be entranced.
And now, to Walküre. The anticipation has been building and today is the day! As I sat next to a friend before a Met performance earlier this year, the conversation eventually turned to Walküre. At one point, he was trying to recall the name of an aria in Act 1 and I softly sang; “Winterstürme wichen dem Wonnemond”- in rather acceptable German, I might add. It was ironic because this was a friend who had for years encouraged me to view Wagner in a different light. He stared at me for a moment, then asked “Who ARE you?!” While not certain if I am ready for Bayreuth, I suppose I am someone who will now sit through a five hour Wagnerian opera. I may have reached mid-life, but am still open to change. Now, if only I could find my best pair of binoculars before tonight!
