Götterdämmerung is the most Italian among the Ring operas – we have a love duet, a revenge trio, a (double) wedding scene, a chorus and a mad scene (sort of). Is that the reason why Fabio Luisi was more at ease here than in Siegfried? To start with, either my ears have been unblocked or there were some large-scale orchestral sound to speak of this time. Strings still leave something to be desired, but I wonder if this is not a result of the conductor’s myopic approach: there are many interesting details in tonal coloring and highlighting of generally obscure motivic references, but the parts too often do not add up to a coherent result. There are micro-objectives – highlighting woodwind here, showing a propulsive rhythm there, helping singers somewhere else but if you try to see the big picture, it will probably be quite blurred.
For instance, this evening, the first scene in the prologue was about color and textual clarity at a funereal tempo, but the ensuing duet most commendably had a whiff of Il Trovatore in its athletic grace. Siegfried’s Rheinfahrt was athletic too, but in a rather clumsy way. The Gibichungenhalle scene had a refreshing conversational pace, but you could hear the space between every syllable during Waltraute’s Narration.
There was something Italian too about the way the orchestra tackled the accompanying figures in act II – bright, articulate sounds from the violins and clean, theatrical attacks, but the energy level was variable and tension had rather a peaks-and-valley than a upwards curve graphic. Act III opened to a rather unatmospheric scene with the Rhinemaids before it settled to a sensitive death scene for Siegfried, followed by a rushed account of the Trauermarsch.
Katarina Dalayman is a warm-toned, elegant Brünnhilde. Some high notes are tense and shorter than in the score, most of them however quite exciting in their sheer volume. She is a subtle performer who offers a dignified, womanly approach to the role. Jay Hunter Morris is predictably more comfortable here. Technique is still irregular and he has too many unfocused, undersupported and pushed moments, but he does have stamina. Sometimes, when all elements are well-coordinated, he produces some exciting high notes.
The low voices shined this evening – Hans-Peter König is a very powerful Hagen, Eric Owens again a dark-toned, frighteningly vehement Alberich and Iain Paterson is a noble-toned Gunther.
Karen Cargill is a capable Waltraute with a strong low register and beautiful mezza voce, but her high notes are not very forceful and she can be a bit fussy. Wendy Bryn Harmer is a reliable Gutrune and the Norns were very well cast (especially Elizabeth DeShong and Heidi Melton).