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Posts Tagged ‘ERic Halfvarson’

Pseudo Siegfried

In BBC Proms, Classical Music, Opera, Review, Richard Wagner on July 27, 2013 at 10:26 am

Review – Siegfried (BBC Prom, Friday 26 July 2013)

Siegfried – Lance Ryan
Brünnhilde – Nina Stemme
Wanderer – Terje Stensvold
Mime – Peter Bronder
Alberich – Johannes Martin Kränzle
Fafner – Eric Halfvarson
Woodbird – Rinnat Moriah
Erda – Anna Larsson

Staatskapelle Berlin
Daniel Barenboim (Conductor)

I suppose if I had paid attention at school, the law of statistics – or was it probability – would have told me that things cannot remain constant.

After an excellent Das Rheingold and a white hot Die Walküre that something had to give. It was also interesting to note that after the crush of the first two operas, there were noticeably a few empty seats. Personally I struggle with Siegfried at the best of times and it’s good to know that perhaps I am not alone.

That something was Siegfried. Literally.

That is not to say that Lance Ryan wasn’t a competent and in some parts, a formidable Siegfried – and perhaps it was the unforgiving acoustic of the Royal Albert Hall at times – but it wasn’t a consistent Siegfried.

He clearly has the vocal range for the role and there were moments in the Second and Third Act where he sang with both great authority and eloquence. Daß der mein Vater nicht ist was beautifully delivered as was his monologue before the appearance of Brünnhilde. And dramatically there were some telling moments – for example his confrontation with the Wanderer. But in the First Act and the final duet with Nina Stemme it wasn’t so much the strain of singing above the orchestra as the lack of heft and in some places – the Forging Song –it was very noticeable. Indeed there were times when Ryan didn’t seem able to follow what Barenboim was clearly seeking from him.

I am in sure in an opera house, with the orchestra in the pit, Ryan’s Siegfried is the whole package, but while in South Kensington it was both compelling and well acted, vocally it lacked that vital sheen and depth.

And just a note here on the acting. It faltered in Das Rheingold but in both Die Walküre and Siegfried the singers have literally inhabited the stage.

Barenboim drew some wonderful singing from the rest of the cast. The Mime of Peter Bronder might have fared better with stronger vocal characterisation and there were moments when I almost felt like he was shouting to be heard, but both Johannes Martin Kränzle as Alberich and the Fafner of Eric Halfvarson continued their strong performances from the opening opera of the quartet. Similarly, Terje Stensvold’s Wanderer was incredibly strong – both vocally and dramatically. His performance oozed a real sense of experience.

Anna Larsson returned as Erda sans the excessive vibrato of Das Rheingold and delivered the Earth Goddess with deep and velvety authority and the Woodbird of Rinnat Moriah was a delight. Perched at the top of the hall, her bright soprano literally shone and floated and whereas it is quite commons for the Woodbird to sound rushed, Barenboim indeed expertly made it all sound fluid, relaxed and birdlike without halting or slowly the tempo.

And Nina Stemme continued to enthrall the audience and delivered an incredibly strong, vocally secure and impressive Brünnhilde in the final act. She commands the stage as ever from her first appearance. It has been a long time since I have heard the Siegfried Brünnhilde sung with such a range of emotion and colour.

As ever Barenboim drew some incredible playing from the Staatskapelle Berlin. I have never heard the horn solo – or any of the instrumental solos in Siegfried – played with such aplomb and beauty. The brass were particularly impressive and I have never heard any performance where the players and conductor have created so many different colours and hues. The opening, so expertly controlled by Barenboim in terms of dynamics and tempo was chilling but it was the playing in the final scenes – Barenboim almost up from the podium to exhort the brass to ever greater brilliance – that was simply astounding.

The combination of Barenboim, the Staatskapelle and a cast including Stemme, Waltraud Meier and Mikhail Petrenko promises an incredible end to the cycle on Sunday with Götterdämmerung.

O hehrstes Wunder!

In BBC Proms, Classical Music, Opera, Review, Richard Wagner on July 24, 2013 at 10:46 am

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.

Stream Of Pleasure

In Classical Music, Opera, Review, Richard Wagner on July 18, 2012 at 2:06 pm

Review – Götterdämmerung (Live stream, Bayerische Staatsoper, Sunday 15 July 2012)

Siegfried – Stephen Gould
Brünnhilde – Nina Stemme
Gunther – Iain Paterson
Gutrune – Anna Gabler
Hagen – Eric Halfvarson
Alberich – Wolfgang Koch
Waltraute – Michaela Schuster
Woglinde – Eri Nakamura
Wellgunde – Angela Brower
Norns -Jill Grove, Jamie Barton & Irmgard Vilsmaier

Director – Andreas Kriegenberg
Set Designs – Harald Thor
Costumes – Andrea Schraad
Lighting – Stefan Bolliger

Conductor – Kent Nagano

First of all plaudits and thanks to Bayerische Staatsoper and their sponsor BMW for the inspired and generous live stream of Kriegenberg’s production of Götterdämmerung. If only our own opera companies could find a similar sponsorship deal. Or that the BBC would put their greedy hands in their publicly-funded pockets and support a first-night initiative such as this after such massive investment in their web to the expense of others. Hardly likely – they can’t even manage to stream their own Proms.

But back to Munich and what a wonderful night. I was fortunate enough to see Nina Stemme in her first complete Ring Cycle in San Francisco. And while unfortunately Francesca Zambello & Donald Runnicles delivered an ultimately flawed production, Ms Stemme was magnificent in the role not only vocally – her voice being incredibly rich and multi-hued throughout her range – but also in terms of her characterisation despite Zambello’s poor attention to general attention to character detail in that Californian production.

And in my mind her performance and interpretation in Kriegenberg, even via broadband was magnificent and had grown in dimension.

Having not seen the three other operas in Kriegenberg’s cycle it’s difficult to make more than passing comment to the production. Yet it was obvious that this was a production that had been clearly thought out, lean with, it seemed to me, very little superfluous mannerism or PersonRegie affectation.

The opening scene was Chereau-esque in its post-apocalyptic vision. Stunned people were rifling through postcards while being tested for what could only have been radiation and having their possessions removed in plastic bags by men in protective suits. The three Norns – like unseen spirits – walked among them handling a red ball of fine twine. The frailty of that twine seemed so suitable as it was wound around the shocked and numb people on the stage.

Siegfried and Brünnhilde’s opening scene was sent in the most basic of shacks. Simple planks of wood for walls held together by Kriegenberg’s posse of extras provided the backdrop as Brünnhilde finished painting symbols on her lover’s arms. 1950s starlet was my first impression of Stemme complete with fake blond hair and Siegfried in the more typical garb for Siegfried with an ever so slightly rustic appearance. I guess the symbols had some kind of significance in terms of being protective totems – only seeing Siegfried would confirm this – and thank you to @rossignol for pointing out Brünnhilde’s hair was in direct contrast to the Gods’ own white hair as witnessed earlier on the Norns and subsequently on Waltraute.

Indeed, the scene with Waltraute while not exuding the white-hot emotion of LePage’s production – which was only due to the immense talent and experience of Waltraud Meier – was an insightful moment. Clearly this Valkyrie was slowly descending into insanity as witnessed by her obsessive-compulsive actions and mannerism. Perhaps in realisation of what the future held in store for her and her brethren? The humanity and calm of Brünnhilde in contrast was startling.

Kriegenberg’s cadre then provided a gently modulating Rhine before, in an inspired touch, they morphed into Gibichungs – suited and booted City workers who inhabited the multi-level Gibichung Hall.

Kriegenberg’s “Gewinn” theme of vulgar richesse while obvious was cleverly done complete with rocking-horse-Euro. Gunther and Gutrune – with a mirror image inference of incest harking back to Siegmund and Sieglinde – were suitably brash and brassy in character while Hagen as sinister business associate was simply chilling.

Hagen’s scene with the chorus using mobile phones to take pictures of the happy and unhappy wedding couples reminded me of ENO’s own scene with its tourists. I can only imagine the mobile phone element was to reinforce the city slicker image but the multi-floor stage came into its own here in terms of providing impact.

I have to say the one oddity in the entire production was Brünnhilde’s entrance at this point. Why the paper bag on her head?

The rest of the opera worked well within this set and before Brünnhilde prepared to set the world alight the cast rushed around the set throwing around heaps of paper somewhat reminiscent of the chaos in a company before it is raided. And considering Germany seems to be riding the current economic recession better than most others it seemed as if Kriegenberg’s Gibichung Hall was suddenly a warning against the ultimate consequence of greed. Nice touch.

And in the closing moments not only did the Rhinemaidens appear carefully carrying the returned Rhinegold but – and most poignantly for me – Gutrune took centre stage. As the world imploded around her and Wagner’s magnificent redemption theme soared out from the orchestra, we saw Kriegenberg’s extras return to the stage and wrap themselves protectively around her.

As I have said without seeing the rest of the Cycle it’s difficult to really appreciate or understand Kriegenberg’s overall vision but even within the isolation of this Götterdämmerung his ideas were rich and for the most part seemed well thought out and intelligent.

And overlaid on this was some of the best singing I have heard in a long time. Ms Stemme led an incredibly strong cast from the front. She was in magnificent voice, strong and supple, richly hued and intelligent from her opening bars through to the end of the immolation scene. Never flagging I always feel that the hushed moment in the closing scene at Ruhe, ruhe, du Gott! is telling of a singer’s skills. And here Stemme did not disappoint, floating the phrases magically.

Her Siegfried, Stephen Gould was similarly magnificent. A clear and bright tenor, he had the rarely heard heft and stamina that saw him clear the final act with great aplomb. Again, to his closing scene he remained in complete control of his voice, displaying incredible technique and a musical intelligence as this Siegfried came to the realisation of his first love and final betrayal.

The Gibichungs of Iain Paterson and Anna Gabler were similarly strong in terms of character portrayal and singing ability. Indeed it was one of the best pairings I have seen and heard in a while. Paterson in particular was in fine voice. And the Hagen of Eric Halfvarson, while taking a little while to warm up was a perfect foil in terms of the richness of both his characterisation and singing.

And the three Norns and the Rhinemaidens were equally impressive with ensemble singing of the highest standard.

I have seen Nagano conduct in Munich many times and as ever his was an intelligent and detailed performance bringing out both the grandeur of the score juxtaposed with the more chamber-like moments. And all with well judged tempi. And the orchestra under Maestro Nagano was stunning, producing a rich palette of sound that was discernable even via the live streaming.

Indeed even via iPad this was a stunning production both musically and directorially and I can only wonder what it must have been like in that square in Munich on the big screen let alone in the theatre itself.

Before Sunday evening I was minded to cancel my booking of the cycle in January, but now I am more determined that ever to see it complete – even if Nina Stemme is only singing Brünnhilde in Götterdämmerung.

January 2013 cannot come soon enough.

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