(Article from Oberon’s Grove, one of the last to be copied and posted onto the Glade.)
Monday April 27, 2009 – I enjoyed RHEINGOLD so thoroughly on Thursday, but as magnificent as John Keenan’s conducting was that night, I sort of felt it would be appropriate to say goodbye to this RING with a performance where James Levine was on the podium; it’s always sort of been his RING. Though WALKURE was the opera I’d most liked to have seen again, I felt no desire to hear either of the Brunnhildes on offer. So when Dmitry decided to go to this RHEINGOLD I asked him to get me a ticket, too. Counting the dress rehearsal, this was my fourth RHEINGOLD this year. The major attraction of the evening was in having a new Wotan, Albert Dohmen.
The air was oppressively hot and dry up in standing room, and throughout the performance there were distractions as people wanted to go out to the bathroom and then re-enter; the usher had to explain in very loud whispers that if you go out you can’t come back in.
I suppose it should not surprise me, but really: don’t people realize (or take the time to find out) that RHEINGOLD is a one-act opera lasting almost 3 hours? This isn’t the fucking cinema, kids. You don’t just wander out and back in during the dull moments. Next thing you know, they’ll be wanting popcorn.
But, on to the performance:
Anyone who gets an opportunity to sing Wotan in this production automatically gets compared to James Morris, and not just to current-form Morris but to memories of his performances over the years. Albert Dohmen (above) was more than just a viable alternative: he has house-filling power and he spans the full range of the role without strain on top or grumbling at the the lower end. The voice falls pleasingly on the ear, reminding me tonally a bit of Theo Adam and in terms of attack and vocal ‘presence’ of George London. I’d very much like to hear Dohmen in WALKURE and SIEGFRIED – both of which are to be aired over Sirius – and in other rep as well; I would imagine he’d be a very fine Dutchman. He certainly impressed tonight.
Wendy Bryn Harmer again gave a notable performance in terms of both vocal power and richness of sound (plus a sense of urgent desperation as Freia’s fate is bandied about); she seems more than ready for larger assignments both vocally and in terms of presence. Again enjoying a great success were the giants, Rene Pape (Fasolt) and Sir John Tomlinson (Fafner). Richard Paul Fink was a magnificent Alberich tonight and Yvonne Naef again was a passionate, vocally distinctive Fricka. Kim Begley (Loge), Dennis Peterson (Mime), Wendy White (Erda), Garrett Sorenson (Froh) and especially Charles Taylor (Donner) were thoroughly satisfying. Continuing to illuminate the music of the Rhinemaidens as the Cycles move forward are Lisette Oropesa, Kate Lindsey and Tamara Mumford.
Levine’s pacing seemed right and the orchestra were playing quite well despite signs of fatigue here and there. The evening’s most entrancing moment musically came as Ms. Naef questioned the efficacy of the gold in holding onto her husband’s affections, while David Chan wove that theme of longing and desire around her wine-coloured vocalizing.
~ Oberon
Oberon's Glade 