Entr'acte

French for "between the acts" or "the interval between two acts of a theatrical performance"



Thursday, May 19, 2011

Die Walkure - Live in HD

Although a personal commitment took precedence over the HD Live transmission of Die Walküre's last Met Opera performance on May 14th, I was delighted to get tickets for the Encore screening at the Walter Reade theatre on Monday.  All of the other HD theatres in the New York area are showing the Encore on June 1st and I simply did not want to wait!

My companion for the screening was a friend who had accompanied me to one of the Met performances.  As a professional musician, he had more knowledge of Wagner than I, but  shared with me a previous resistance to the composer. While totally enthralled by our live Walküre experience, we were both eager to view the production from a much closer angle.  The HD broadcast left us in total agreement of this being a marvelous complement to the live theatrical performance.

Being at the Encore screening, we were aware of the tehnicial glitch causing a 40 minute delay of Saturday's live broadcast, as the techncians had to re-establish one of the electronic connectors to the computer system controling the operation of the set.  The Met's HD staff had reacted quickly, turning this into a fascinating intermission interview with the Met Technical Director explaing the process of operation for the set, complete with close-up shots of "The Machne" as the set has come to be known.  All quite interesting, but the close-ups of the set made me even more nervous for the singers who have to deal with it, while singing this gorgeous, yet very challenging music!

And, speaking of the music, we saw another stunning performance!  It was thrilling to have the relationship unfold between tenor Jonas Kaufmann's Siegmund and  soprano Eva-Maria Westbroek's Sieglinde from this vantage point. However, I couldn't help notice a few quirky details. Before Siegmund stumbles into Sieglinde and Hunding's hut, two stagehands were seen crawling in the background. As a mythological period piece, I still find it strange that chairs for the dining table are fold-out stools. Even more puzzling are the the silver or pewter flatware and dishes, which look contemporary. Speaking of silver, with all the money spent on this production, you'd think the sword Siegmund pulls out of the ash tree would be more grandiose looking, especially as it came from the god Wotan. And, someone please alter Sieglinde's dress and brush out her wig before the full Ring Cyle next year! I appreciate the desire to have the dress look appropriate for the period, but it could be better fitted to Westbroek's silouhette and tailored to look less baggy. I realize that Sieglinde is not wealthy, but that doesn't mean the one costume she wears can't be more flattering. The Met Opera Costume and Props Department create miracles, so I know all this can be taken care of.


I was so transported by seeing the intensely intimate and dramatic Act 1 up close that I was sorry to see it end. HD Broadcast Host Placido Domingo was waiting in the wings to interview a clearly exhilerated Kaufmann and Westbroek and it was a special thrill for me to see these two tenors together! Before the premiere, Kaufmann and Westbroek had participated in the "Met Talks" presentation before the premiere and their comaraderie as colleagues and friends is evident.  (Westbroek also duets with Kaufmann in the final cut on his latest CD, the terrific Verismo Arias.)

Although I have seen each of the Met productions over the past season, this was only my third HD screening for 2010-2011 and I found the Walküre intermission features the most enjoyable.  Aside from live cast interviews by Domingo and the fabulous mezzo Joyce DiDonato ("The Yankee Diva"!), there is an interesting feature on the horns Wagner wrote for, especially the "Wagner tuba". Members of the Met Orchestra horm section demonstated the different horms used, describing the "Wagner tuba",(or "Bayreuth tuba", as it is sometimes called) as a mix of a tenor tuba and French horn, which Wagner created for the Ring Cycle.  And, we were treated to a fascinating preview of the upcoming documentary, James Levine: America's Maestro, which PBS will present on June 1st -  also the date of more Walküre HD Enccore screenings. Included are scenes of Levine rehearsing Domingo in the 1970's for the lead tenor role of Gabriele Adorno in Simon Boccanegra and for his 2010 debut in the baritone title role.

By the way, my favorite quote of the cast interviews was powerhouse mezzo Stephanie Blythe's matter-of-fact description of her vocal technique. My friend and I shouted with ironic laughter at Blythe's calm assertion that singing Wagner is all about "...taking a breath, supporting it, singing the words and getting to the end of a phrase"  If only we all could reach the end of any phrases with the vocal quality, ease and authority of Stephanie Blythe! 

I had previously mentioned the projections during Siegmund's monologue in Act I and Wotan's in Act II.  Closer examination has made me only more convinced that both are irrelevant. But, Siegmund's death in Act II is even more moving on the large screen that it was live in the Met as is the anguish and anger of Bryn Terfel's Wotan.  At the Act II intermission, my friend and I were both shaking our heads in wonder at the accomplishment of Kaufmann's role debut as Siegmund. Accustomed to hearing Kaufmann in Italian and French romantic leading roles, the difficulties of Siegmund's lower register is quite a departure. As a tenor himself, my friend was especially appreciative of the challenges Kaufmann faced in this role. Kaufmann's performance is magnificient and I will be delighted to eventually have the DVD of this HD filming to remember it by.


Seeing the HD has also not changed my mind about the ending. Clips of the previous Met production show Wotan gently leading Brünnhilde to the rock, kissing her godly powers away and carefully lowering her on the rock, then slowly putting her spear, shield and visor in place. Truly a more tender and fitting last scene for these characters and more satifying. While the lights and fire effects of this production's finale are stunning, the staging must be altered, so it is not felt necessary to use a body double.  Brünnhilde should not be portrayed by a body double in the finale as it damages the heartwrenching emotion of a father's fnal farewell to his daughter. 


I've heard some professional musicians express concern about what they perceive as over-emphasis on the visual, rather than the musical aspects of opera productions because of the HD and other live opera film series. While nothing will ever replace the live experience of opera (or any other peforming art), the Met HD screenings are an extraordinary gift to opera lovers all around the world. Many HD viewers live in areas where there are no professional opera companies and look forward to all the HD screenings.  I know a family with three children in a very small Western town who drive an hour and half each way to see the HD performances. As a Met audience regular, I continually meet people from all around the world who became opera fans because of the HD screenings and then began to experience opera live in the theatre. Or, long-time opera fans who can't get to the Met as often as they like and greatly value the HD opportunities to see the Met productions. Once the DVD of the Walküre HD performance is released, it will be a cherished companion piece to my memories of these unforgettable performances at the Met.


(All photos by Ken Howard from the final dress rehearsal of April 19, 2011, are courtesy of the Metropolitan Opera.)

Monday, May 16, 2011

In the land of the Valkyries

During Act II of the Die Walküre premiere on Friday, April 22nd, there was special resonance for me in Wotan’s observation; "Things can suddenly happen that have never happened before." One year ago, I wouldn’t have known a Hunding from a Hyundai, but have now seen six of the seven performances of Metropolitan Opera’s new production. Once resistant to Wagner, I now readily admit to being under the spell of Die Walküre.
 
Although I had always thought of Wagnerians as an extremely serious group, the chill and dark clouds of the premiere did not hamper the festive mood before curtain and at each intermission.   Arriving fifteen minutes before curtain, it was obvious many had not given up hope of securing a last-minute ticket and that some might still get into the performance:   


  
Before heading to my section, I came across a pair of Valkyries anxiously about to take their seats:


Sadly, an increased work load had prevented my friend from joining me that evening, having informed me he sold his ticket two hours before the performance.  The lucky recipient had driven in from Connecticut, taking a chance that a ticket might become available and his optimism certainly paid off! While missing my friend, I was about to silence my BlackBerry when I noticed the text light flashing and was delighted to see greetings from an friend in London, about to stay up all night and listen on Sirius Radio.  Having experienced a similar journey to Wagner, she was excited to share in the festivities.  I quickly answered her, promising to check in at the first intermission and waited eagerly for the start.
Preparation for my first Walküre gave me some indication of how it varies from the earlier Das Rheingold, but I was especially struck by the intimacy of this work.  While an enjoyable experience overall, I did not feel a strong connection with the characters in Das Rheingold in either of the two performances I attended.  Perhaps this was due to the much-debated Carl Fillion set, which seemed to overshadow nearly every move of the Das Rheingold cast. Watching Walküre, thoughts of gods and grandeur gave way to the powerful, raw emotions and conflicts of these characters.

The rotating planks of the set (“The Machine”) are used to better advantage in Walküre, beginning with Siegmund, fleeing through the dense forest on a stormy night, avoiding the searchlights of his enemies close behind. However,  with each viewing, I was frustrated in wanting the cast to be closer to the audience. When the forest becomes Hunding’s hut, a low wall (used in part for Sieglinde’s kitchen) causes most of the action to be set further back on the enormous stage.  But, wall or no wall, the instant connection between Jonas Kaufmann’s Siegmund and Eva-Maria Westbroek’s  Sieglinde is unmistakable. While Hunding (the remarkable bass Hans-Peter König) remarks on the resemblance between the two, I couldn’t help but wonder why he doesn’t notice the pair is trying desperately not to gaze at one another!

And, they can’t bear not to touch one another as their hands linger while Siegmund first takes the water, then mead offered by Sieglinde. At one point after Hunding’s arrival, Siegmund walks slowly past Sieglinde and gently brushes his hand against hers, then walks away and folds his arm across his chest, clasping his other arm, while he stares straight ahead. Sieglinde looks at him momentarily and turning her back, gazes at the hand Siegmund has just touched. At the premiere, I almost missed the moment and watched carefully for it at the next performances.  While the idea of romance between Siegmund and Sieglinde, the lost twins separated as small children, is unsettling, to say the least, Kaufmann and Westbroek make you believe that once their eyes locked, there was no turning back. You can’t help but exult with them as they run off at the end of Act 1.

Hearing Kaufmann live after nearly a year is such an enormous pleasure!  The first tenor since Domingo whose every role I long to see, Kaufmann does not disappoint in his debut as Siegmund. I had momentarily forgotten that Siegmund is written in a register lower than most tenor roles and appreciate the difficulty this obviously presents. In my previous state of ignorance, I had thought of the Ring as full of fire, brimstone, barking and shouting. While there is obviously fire, I now think of
Walküre as a series of extended duets and soliloquies with some wonderfully lyrical passages. Kaufmann communicates the meaning of the text beautifully, as does the Wotan of Bryn Terfel and it is easy to see why both are so acclaimed as lieder singers.

Knowing some of Westbroek’s work from CDs and YouTube clips, her usually strong and vibrant voice sounded rather cloudy at the premiere and illness prevented her from continuing after Act 1.  The daunting task of replacing her for the rest of the premiere fell to Margaret Jane Wray whom, it was no surprise to later learn, is an accomplished Wagnerian and experienced Sieglinde.
As Walküre is a continual musical dialog, not appropriate for applause during the acts, the audience at the premiere amazed me with scarcely any movement until the Act I curtain fell. Wagnerians are a model audience, for there was no talking, no texting or e-mailing, no unwrapping of cough drops, etc. – truly, a refreshing change. When the Act 1 curtain fell, thunder swept the Met and grew even louder when Kaufmann and Westbroek appeared at curtain calls, followed by König. Regrettably, I missed the sight of Maestro James Levine throwing his arms up in a  large “V” as Kaufmann and Westbroek came out, hand-in- hand, to take their bows.  Thanks to a kind soul who has put several scenes of the radio broadcast on YouTube, I was able to hear the commentators describe the spontaneity of that unique moment.

Intermissions at the premiere also had quite a buzz, and my sleepless London friend and I exchanged more text messages then and after the performance. In addition to running into a few excited Wagnerian acquaintances, I encountered the earlier pair of Valkyries, along with a new one:

 
While Act II brings instant recognition of the strong affection between the god Wotan and his Valkyrie daughter  Brünnhilde, his relationship with his wife Fricka is deeply complicated.  Despite giving up an eye to win her as his bride, true contentment apears scarce in their childless marriage.  Fricka is conflicted between anger at Wotan’s repeated infidelities and numerous illegitimate children to lingering affection for her husband. As always, mezzo Stephanie Blythe is a force of nature as she vividly captures the complexities of her character. Although Fricka is goddess of marriage, she supports Hunding, the man who had Sieglinde abducted and forced into a loveless marriage and life of rape and servitude.  Sieglinde and Siegmund are Wotan’s children and further proof of his infidelity, so she refuses to believe these half-mortals can save the gods. Fricka convinces Bryn Terfel’s anguished Wotan they must support this travesty of a marriage or their powers will be lost.  After bitterly giving her his oath, Terfel snatches his hand away and doubles over in torment, knowing his only son is doomed in battle.  While Hunding’s spear goes through Siegmund, Terfel’s Wotan reacts as though it has pierced him as well. Terfel conjures up images of a dangerous, wounded animal, dismissively snarling, “GEH!, GEH!” (“GO!, GO!”), to Hunding.  Looking up as Wotan cradles his dying son, Kaufmann recognizes the lost father Walse and, with a loving gaze, caresses Wotan’s face before falling back dead in his arms.

Theoretically, I wouldn’t have expected to feel much sympathy for Wotan; a serial adulterer, willing to put his wife’s sister up as collateral for the construction of his castle, Valhalla.  Terfel’s portrayal shows a god all too aware of the mess created by his wheeling and dealing.  He knows he is trapped, bitterly realizing  he has only himself to blame and I couldn’t help but have some compassion for him.  Upon having to say farewell to his only consolation in life, his favorite child Brünnhilde, Terfel pours out his pain in the gorgeous “Leb' wohl”.  Summoning the fire god Loge to produce a ring of fire for Brünnhilde, he repeatedly smashes his spear against the rock in frustration.  The heartbreak of Terfel’s Wotan is palpable as he watches her surrounded by the fire, before turning away for the last time.

While the audience’s response to the singers and Maestro Levine at the end of the premiere was rapturous, I discovered that Wagnerians are not reserved when it comes to booing, as the production team heard definite displeasure.  But the night did belong to the singers  and, because of the after-party on the Grand Tier of the Met, the entire cast took curtain calls at the conclusion, including those not in Act III.  A smiling Kaufmann was the last to leave the stage and briefly turned to survey the crowd once more.  Gazing at the sold-out audience on their feet, shouting and clapping, he looked up at those in the upper sections, and waved broadly before following König offstage.

Feeling as though as I had only scratched the surface after the premiere, I found it essential to go back again and again. The festivity of opening night gave way to all-consuming awe as the impact of the music and these performances have left an imprint that has proven difficult to capture in words. I now understand  Stephanie Blythe’s sense of wonder in describing to a pre-premiere “Met Talks” audience, the powerful effect of hearing this score in the theatre, played by a world-class orchestra. I had thought the length of the piece would be exhausting, but the conclusion of each performance found me too keyed up to sleep. And, I originally felt the Wotan/Brünnhilde scenes in Acts II and III
could have used some trimming, but, upon repeated viewing, I could be converted on that, as well.

Thankfully, Westbroek recovered quickly with a voice increasingly stronger and richer. With each performance, the orchestra and cast as a whole delivered an experience more emotionally and musically  satisfying than the one before it. My favorite reaction overheard at one first intermission was from an obviously experienced Wagnerian.  Meeting up with a friend on the Grand Tier, she said; “In fifty years of Walküres, this was the best Act I ever!” She looked up at the ceiling – “I’m sorry Jon Vickers, but this is the BEST!!!” At the sixth performance, I sat with a friend who was also had also seen the production a number of times. Wiping away tears at the first intermission, we both admitted to having goosebumps throughout Act 1. A text message reminded me that the performance was again broadcast and my friend in London and I found that we were equally enthralled.

I wish I could be equally enthusiastic about the staging and production values.  In an interview before the premiere, director Robert Lepage stated, “We’re guided by Wagner and by the music.” While a Wagner newcomer, I would venture to guess the staging of Act I would not please the composer/librettist. The partial wall in Hunding’s hut serves little purpose, while forcing the action further back and cutting the singers off at the knees. The bit of staging that does take place on the apron of the stage only makes us long for a closer view of this intensely emotional act.  While the projections of the forest and the storm on the planks are very effective, the projected scenes during Siegmund’s narrations are distracting and add nothing to the drama.  When you are listening to Jonas Kaufmann telling Siegmund’s story, you don’t need projections – just sit back and enjoy!

Within three minutes of the second act, I was concerned for Terfel and Deborah Voigt’s Brünnhilde traipsing up and down that “mountain”.  Yes, it’s supposed to be a mountain top, but I’d rather leave a bit more to the imagination and be less worried about the singers!  The anxiety continues in Act III, watching the Valkyries slide down “The Machine”, after riding the simulated horses made by rotating planks.  Although the idea is very clever, at each performance, I have a little sigh of relief as the last Valkyrie is safely on more solid ground.

And, there are more puzzling visual displays. Wotan’s Act II monolog is accompanied by a giant eye of changing colors and projections within the projection. Does this represent the eye he gave up to win Fricka?  I don't know, nor did I really care as I was watching and listening to Terfel.  Then, Wotan’s farewell to Brünnhilde features projected snow slowly spreading and covering the mountain top.  Why? To me, it seems to have been included just for the sake of another visual.

The staging for Brünnhilde’s farewell is a major disappointment in an emotional context.  After Wotan’s last fatherly kiss turns her into a mortal, the stage directions have him leading her off hanging between two spears.  The next time we see Brünnhilde, it is not Deborah Voigt, but a body double, literally shoved down and left hanging head first on the side of the mountain top. A father is saying goodbye – forever - to his only consolation in life; his most beloved child.  Between the drama of the libretto and the glorious music, this should be one of the most emotional scenes in opera, but this staging detracts from it.  The effects of the rotating and revolving planks with the added colors and lights of the ring of fire are dazzling. But, they should be surrounding Deborah Voigt lying down (not hanging down) on a plateau of the mountain top. This staging deprives any singer playing Brünnhilde from a critical part of her emotional journey in the Ring Cycle and, the audience of sharing it with her.

I am going to think positively and hope that the 2012 Ring Cycle will find favorable revisions to the staging, resulting in a showcase that complements the singers and musicians. In the interview I mentioned earlier, Lepage also stressed that; “In the end, whatever it is that you want or plan as a director, the music always wins.”  Despite my concerns about the set and staging, this music, this cast and this orchestra wins – unquestionably.