Posts Tagged ‘Sabine Hogrefe’

If this week’s Die Walküre from Bayreuth took some time to warm, this evening’s Siegfried did not hang fire. Christian Thielemann conducted a dense, large-scaled performance that did not need to rush to suggest intensity, but rather increased in tension steadily and progressively. Some conductors opt for raw excitement in this score’s percussive rhythmic effects, but Thielemann never tried any easy option. The forging song, for instance, achieved its effect rather through motivic clarity and rich almost weighty orchestral sound (which never drowned singers). The Neidhöhle scene benefited from dark menacing perspectives and the sort of harmonic transparence that makes one see in this music the hint of what would happen in the next century. The Brünnhilde/Siegfried scene benefited from otherworldly sounds and exploded in passionate, volatile full-toned orchestral playing under the maestro’s flexible beat.

Replacing an ailing Linda Watson as Brünnhilde in the last minute, Sabine Hogrefe offered a creamy-toned soprano with firm, big acuti, dynamic variety and a very decent trill. She bills herself as a dramatic soprano, but a limited lower range and a round rather than penetrating tonal quality would make one think rather of a jugendlich dramatisch voice. I am not sure if I would be tempted to see her Brünnhilde in Götterdämmerung, but I would certainly cherish the opportunity to sample her Elsa or Elisabeth. In any case, although she was understandably nervous, her singing was extremely accomplished, musicianly and sensitive. Lance Ryan’s tenor is not voluminous, but very well-focused and his high notes are easy and full. He is not afraid of shading his tone and is more accurate about rhythm than many a famous singer in the title role. He is also an excellent actor who knows how to portray innocence without looking silly. His interaction with Wolfgang Schmidt’s Mime is in the core of this evening’s success. I have written of Schmidt’s performance in Rheingold that I had the impression that he manipulated his voice to produce a Spieltenor sound. This evening he expertly managed this ambiguity of heroic and character Fächer to portray the alternating comic and evil sides of his role. He too offered top-level acting – the scene in which he tries to explain fear to Siegfried particularly well done. Andrew Shore still sounds unfocused and strained in his high register, but he is nonetheless a very convincing Alberich, while Albert Dohmen was in noticeably better voice today, offering spirited accounts of his scenes with Mime and Alberich. Again he has his throaty moments and a nobler tonal quality would make his scene with Erda more impressive, the latter role a bit on the low side for Christa Mayer. I mean it as a compliment when I say that Diógenes Randes’s voice is too beautiful for Fafner. As for Christiane Kohl’s Waldvogel, it lacked clearer vowels.

Tankred Dorst’s production still seems clueless about what to do with the plot – the schoolroom set for act I exclusively meant to add humor to the Wotan/Mime guessing game, but failing to respond to the needs of the forging scene. The set to act II looked indeed impressive, but the preparation to Fafner’s coming out of his cave was finally more impressive than his uneventful appearance as Fafner, the giant (rather than as Fafner, the dragon).  Act III was rather bureaucratically dealt with. In any case, the stage direction itself deserves praises for the successful characterizations of both Siegfried and Mime.

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