During these endless days of being at home, I’ve been reading thru my opera diary, a hand-written document I started in 1962 and which now fills numerous file folders. So many wonderful memories of the great performances I saw over the years were stirred up by reading about them.
One such exciting night was the 1988 premiere of the Otto Schenk GÖTTERDÄMMERUNG, the closing opera of Wagner’s epic RING Cycle. Often referred to affectionately as “the Levine RING”, full cycles of the production in the ensuing seasons created a great international buzz; Wagnerites from all over the globe gathered in New York City to witness this classic staging.
Having already seen the RHEINGOLD, WALKURE and SIEGFRIED, I had a pretty good idea of what to expect; still, when the Gibichung Hall loomed into view, it took my breath away. Levine was mostly magnificent, though there were moments when he let things drag a bit; his orchestra gave it their all, and the chorus sounded sensational as they gathered in lusty expectation of the double wedding.
As to the singers, here’s what I wrote upon returning to my room at the Colonial House after the performance:
“Casting was strong, with pretty singing from the Rhinemaidens – Joyce Guyer (in her Met debut), Diane Kesling, and Meredith Parsons – and Franz Mazura made an astoundingly vivid Alberich, singing with oily malice. The opening scene of Act II, with Alberich pawing at the sleeping Hagen, was very atmospheric.
The Gibichung brother and sister were rather curiously cast: as Gunther, Anthony Raffell’s voice sounded veiled and throaty, and Kathryn Harries’ beautiful (and beautifully acted) Gutrune was undone by effortful singing and a prominent vibrato. [I mentioned that Cornell MacNeil and Lucine Amara could have made for far more interesting casting in these roles!].
The Norn Scene, which I have always loved, benefited from the super casting of Mignon Dunn as 1st Norn, sung with richly doom-ladened tone. Hanna Schwarz (2nd Norn) had a couple of husky moments, but overall sang vividly, with excellent diction. As the 3rd Norn, Marita Napier sometimes sounded a bit insecure, but she did not let down the side. These three really made something of their opening discussion.
Toni Kramer sang erratically but acceptably in the torturous role of Siegfried. He seemed to be husbanding his powers, doing his best singing in Act III.
Above: Christa Ludwig as Waltraute and Hildegard Behrens as Brunnhilde
The divine Christa Ludwig made a thrilling Waltraute, singing with great clarity and verbal point. The distinctive Ludwig tone – that cherished sound – drew the audience in to her every phrase. Add to this the anguished urgency of her delivery, and the result was a veritable triumph.
The Ludwig Waltraute produced one of my all-time favorite curtain calls: stepping before the gold curtain for her first solo bow, she was greeted by such a din of applause and shouting that she halted in her tracks; her eyes opened wide in amazement, and she broke into a huge smile. It seemed to me that she had not expected such an avalanche of affection. She bowed deeply, clearly savoring this outpouring of love from the crowd.
The towering magnificence of Matti Salminen as Hagen (above) produced tremendous excitement in the House. His huge voice was at peak form, effortlessly filling the hall with sinister sound. In the scene where Hagen’s father appears to him in a dream, Salminen and Franz Mazura matched one another in both power and eerily expressive subtlety: thoroughly engrossing. The basso’s portrayal as the drama of Act II unfolded was towering in its epic nastiness and in his manipulation of the situation to attain the character’s sole goal: to regain the ring. This was a performance thrilling to behold, and to hear.
The roar of applause for each of Salminen’s solo bows was thunderous, and I was so excited to be part of it, shouting myself hoarse.
~ Sample the Salminen Hagen, from a later broadcast…it gives me he chills:
Matti Salminen as Hagen – Met 1993
Hildegard Behrens (above) was a Brunnhilde of terrifying intensity and incredible feminine strength. This was an overwhelming interpretation, in which voice and physicality combined to transcend operatic convention, reaching me on the deepest possible level. Behrens lived the part, in no uncertain terms.
The Dawn Duet found Behrens portraying the tamed warrior maid to perfection, savoring her domestic bliss but eager that Siegfried should go out into the world and do great deeds. Her unconventional beauty and her inhabiting of the character were so absorbing to behold. Later, In the scene with Waltraute, Behrens as Brunnhilde listened anxiously to all her sister’s words and she began to grasp the first signs of the downward spiral that would culminate with Siegfried’s betrayal and her own sacrifice. Even so, she dismissed Waltraute with fierce disdain. Behrens’ vivid depiction of Brunnhilde’s terror and helpless dejection as the false Siegfried wrested the ring from her was palpable.
In one of the evening’s most gripping moments, Behrens – having become possessed by Brunnhilde’s plight in Act II – responded to Siegfried’s oath by snatching Hagen’s spear away him and singing her own oath with blistering abandon. Totally immersed in the character, her pain was painful to behold. In the powerful trio that ends Act II, Behrens, Raffell, and Salminen were splendid.
Above: Hildegard Behrens as Brunnhilde ~ Immolation Scene
In the Immolation Scene, the great strength of Brunnhilde’s love for Siegfried, and her determination to perish in the flames of his funeral pyre, marked the culmination of Hildegard Behrens’ sensational performance. Her singing was powerful, with unstinting use of chest voice and flaming top notes; there were moments when expressionistic effects crept in but it all seemed so right. The amazing thing about Behrens’ singing and acting here was that it all seemed spontaneous…she seemed to be living it all in the moment. One cannot ask more of an operatic portrayal.
The curtain calls went on and on, the audience eager to show their appreciation with volleys of bravos as the singers stepped forward time and again. Here we must also thank James Levine, whose grand design underlies the great success to date of the individual operas. Ahead, in the Spring, seeing the full cycle in a week’s time is already on my calendar. My dream will come true!”
~ Oberon
Oberon's Glade 