O hehrstes Wunder!

Review – Die Walküre (BBC Prom – Tuesday 23 July 2013)

Wotan – Bryn Terfel
Brünnhilde – Nina Stemme
Siegmund – Simon O’Neill
Sieglinde – Anja Kampe
Hunding – Eric Halfvarson
Fricka – Ekaterina Gubanova
Gerhilde – Sonja Mühleck soprano
Ortlinde – Carola Höhn
Waltraute – Ivonne Fuchs
Schwertleite – Anaïk Morel
Helmwige – Susan Foster
Siegrune – Leann Sandel-Pantaleo
Grimgerde – Anna Lapkovskaja
Rossweisse – Simone Schröder

Staatskapelle Berlin
Daniel Barenboim (Conductor)

Sieglinde’s O hehrstes Wunder said it all.

On the strength of the first two performances and if the BBC is smart it will find a way to issue this Prom Ring cycle on CD or download.

Clearly Das Rheingold was simply the warm-up because on the second night of the BBC Proms’ first ever complete Ring cycle, Daniel Barenboim, a second-to-none cast and the Staatskapelle Berlin delivered a Die Walküre of such intensity that I haven’t personally experienced either on stage or in concert performance.

The quality of the performances, the playing and the acting on that limited stage all came together in a perfect moment.

It brought back memories of that night in 2005 and a single, isolated performance of Die Walküre. However the emotional intensity of the Berliners performance exceeded even the emotional temperature of that evening.

And Bryn Terfel sung in both. I will admit, I have never truly been convinced by his Wotan – until last night.

Having also seen him at Covent Garden and the Metropolitan I have always felt that there was that final ‘something’ missing. Not so of his Wotan on the stage of the Royal Albert Hall. Perhaps it was because he was stripped bare of the distractions of a stage setting that his performance was incredible. Vocally he chartered the descent of Wotan from arrogant God to loving and distraught father. Every phrase was thought through and convincingly delivered – the words always clear, his voice marvelously shaded, the phrasing beautifully shaped, his singing always incredibly expressive. His was a Wotan worth reckoning with – from his incredible scene with Fricka to his final showdown and heartrending breakdown. His Leb wohl was both majestic and human.

As his wife, Ekaterina Gubanova continued her tour de force as Fricka. And my God from her first appearance, as she slinked down the stairs, she sounded and looked the part. I have yet to finish my review of Gergiev’s recording of this opera simply because I struggle to get beyond listening to the second act with Ms Gubanova. And here she displayed the same high level of musicianship, that beautifully rich and almost muscular mezzo that perfectly conveys the haughty grandeur required of Fricka. Throughout the scene this was a Fricka in control – not completely the woman still hopefully in love of Stephanie Blythe – but a Goddess. Yet, right at the end, once she had extracted the necessary promise from Wotan, there was a sudden and unexpected sign that this was a Fricka who still loved her husband as he sat broken.

At the opposite end of the emotional spectrum was Anja Kampe’s incredible performance Sieglinde. From the vulnerability of her opening scene with Simon O’Neill’s Siegmund and their burgeoning love, her distress in the Second Act to her final exultant and ringing O hehrstes Wunder, Kampe displayed a vocal authority that has definitely grown since I first saw her in this role. Her voice was strong and even throughout its range and again the colours she injected into her singing was tingling.

Opposite Sieglinde, Simon O’Neill was a credible and vocally secure Siegmund. I wonted for more drama in his characterization and perhaps at times greater depth to his singing but there was no denying his commitment in the role.

Hunding as bully was brilliantly portrayed by the deep and brutal singing of Eric Halfvarson. But his was no cipher in performance. Above the brutish and threatening vocal stance he adopted – and led by Barenboim – Halfvarson also uncovered the oft missed – and in many ways – more threatening ability to find those moments in Hunding’s music to sneer and patronise.

And Nina Stemme as Brünnhilde? Personally there aren’t sufficient superlatives.

Unlike in San Francisco, where she was head and shoulders above her colleagues, here Ms Stemme was equally matched by the rest of the cast and it strengthened and enriched her performance. Vocally secure throughout her Brünnhilde was simply stunning and spot on. Her eloquence in the role was simply mesmerising. She made you hear and feel everything – from Brünnhilde’s initial bravado as Wotan’s favourite to the wonder and awe as she witnessed true love to the anguish and fear of defying of father.

There simply isn’t a Brünnhilde like her today.

Even the Walküre – sometimes a hit and miss affair of competitive singing – were marshalled and made a thrilling ensemble. Vocally secure, each had a sufficiently identifiable vocal timbre that made them individuals as well.

So to Barenboim and the Staatskapelle Berlin.

Simply genius.

Barenboim – conducting the first act without glancing at the score – seemed more involved than his measured conducting of Das Rheingold. Clearly this is an opera he loves dearly and it showed in his gestures to the orchestra. Never was this more noticeable than when he was driving the orchestra towards the final bars of each of the three acts. Or when he was exhorting the excellent brass section to greater – if it was possible – grandeur in their playing. Or threat and menace generated at the very beginning, when his physical gestures that had the strings digging deep from the beginning. Or when he motioned to the singers at critical moments in the drama.

And the Staatskapelle responded with deeply committed and passionate playing. Focused, attentive and engrossed in the music, each and every player was part of the drama that Barenboim unfolded on the stage.

I did not see the ‘altercation’ at the end of the Second Act but if performance is sometimes about artistic difference then it worked because I do believe that the playing in the final act even managed to surpass that of the preceding acts.

After a brilliant Das Rheingold, it was impossible to think that the ensemble could raise the bar with Die Walküre. But they did.

It makes the expectation of the Siegfried to come almost unbearable.

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