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Posts Tagged ‘Christopher Ventris’

My review of the Frank Castorf’s Walküre back in 2014 shows my attempt to make sense of the various and not smoothly integrated elements in his Dramaturgie. Watching it again knowing what comes next is an entirely different experience: many of the gaps left open by a messy concept are now filled by the geopolitic frame offered by the Berlin setting of both Siegfried and Götterdämmerung. The representation of the Rhinegold as oil (we have already seen it pictured as atomic energy in Harry Kupfer’s staging on the Green Hill) is revelatory in its associations between Gods, Nibelungs etc and the various alliances built around the oil business to these days. The way it is dealt with in the various installments of the Ring is irregular (especially in Götterdämmerung), but it makes particular sense in Die Walküre, even if the Sieglide/Siegmund affair seems a bit lost in it. Here too, it seems that the staging has been refined to achieve more coherence, even if it remains a bit all over the place.

Marek Janowski took a while to find his way in this evening’s performance. Act I alternated moments of great clarity with surprisingly messy passages. The final did not build up in continuous intensity, in spite of beautiful isolated passages, such as a light-footed Winterstürme aided by a well-chosen soloist. The second act showed the orchestra in greater form and, after a bumpy Fricka/Wotan scene, things settled in rich sonoroties and some urgence, something that would reach a peak in the last act, in which Wotan’s entrance was the highlight of the whole evening, a truly exciting moment of great power and amazing playing of the string section, in perfect balance with the bass.

Catherine Foster’s Brünnhilde has greatly developed since 2014. With the exception of her first scene in act III, when she sounded a bit tired and quite wayward with intonation in her high notes, she sang with naturalness and youthfulness of tone, praiseworthy lyricism, variety and elegance. Camilla Nylund’s Sieglinde was intelligently conceived and smoothly sung, but the lack of cutting edge in her soprano had her consistently on 100% and therefore rather monochrome. Nonetheless, she still found it difficult to pierce through, leaving the conductor two options: reining in the orchestra to adjust or drowning her. In her climactic act III solo, the second solution was chosen, a sensible if still a bit disappointing choice. Tanja Ariane Baumgartner’s mezzo is on the light side for the Walküre Fricka. She sounded out of sorts and was not very precise with her notes either. Christopher Ventris was a lyric, fresh-toned Siegmund, without any hint of baritonal quality in his singing. John Lundgren’s basic tonal quality is apt for the role of Wotan, even if the sound could be overly nasal and both ends of his range could sound short of overtones and a bit forced. Fortunately, he could gather his resources for the closing scene. Although the mezza voce was unfocused, he did not refrain from trying to soften his tone and reached the end of the opera in healthy voice. Georg Zeppenfeld’s Hunding was really more convincing here compared to his performance in Salzburg, where he sounded a bit well-behaved and not truly menacing. As for the Valkyries, there was some problem of intonation in an otherwise forceful and characterful group of singers.

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Kwangchul Youn has established a reputation as a Wagner singer in Bayreuth and the most important opera houses around the world. He is particularly noted for his performances in the role of Gurnemanz, a role he never sang before in his native South Korea until this week. As far as I understand, one of the reasons is that this was the Korean premiere of Wagner’s last masterpiece here.

For this performances, the Korea National Opera has ordered a new production by Philippe Arlaud, a director who worked with Christian Thielemann both in Berlin and in Bayreuth. Those used to Regietheater productions on the Green Hill would probably find this staging unchallenging in its straightforwardness – I would say that it was a sensible idea to focus on telling the story to an audience who is seeing the work for the first time. Also, it is refreshing that a stylized, minimalistic approach (rather than a traditional approach in a country where this tradition means very little) has been chosen. Act I shows one tree trunk surrounded by an iceberg borrowed from Caspar David Friedrich – a symbol for a social order whose propelling energy is gone (a red glowing grail being the only warm color on stage); act II has no sets, Klingsor’s world being just make-believe; act III predictably has the decayed version of  act I. As one can see, nothing new here, but one should not underestimate the the fact that the cast showed great conviction under the coherent guidance of a director who took the pains of sharing his visions with his singers in a way that also made sense for the audience.

Saying that Lothar Zagrosek opted for comfortable tempi that made it possible for his musicians to produce adequate results would be oversimplifying it. His orchestra played with enthusiasm and was able to fill the hall with sound when this was necessary. Brass was less accident-prone than I would have imagined and strings would sound pale only in fast or soft passages. What is important is that the right gravitas has been achieved – and singers could find the necessary time to let Wagner’s text and music “speak” for itself. You might be thinking that this is no guarantee of success for act II. Indeed, a while after the exit of the flower-maidens, things tended to get a bit pointless. Orchestral passages missed denser strings – act III having a couple of problematic moments.

Although Yvonne Naef has her taut/narrow moments, her Kundry is dramatically alert, tonally varied and seductive in a Crespin-esque way. In actIII, her acting alone was effective as her singing. Christopher Ventris is less gripping, but subtle and youthful-toned. Also, he sings with unfailing technique and musicianship. Gerard Kim (Amfortas) has an interesting voice – dark with a cutting edge – and he is the kind of singer who knows how to test his limits in a positive way. Moreover, he has a very expressive face. Antonio Yang (Klingsor) too has an intense stage presence.  His dark and forceful baritone very much at home in this repertoire.

Kwangchul Youn does not need introduction in this part. He was also in superb voice and colored the text with the sure hand of a master.

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