Tag: Otto Schenk

Premiere: Levine/Schenk GÖTTERDÄMMERUNG

(NOTE: this was originally published during the pandemic…)

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

March 24, 2025
My First TANNHAUSER ~ 1978 @ The Met

Above: Richard Cassilly as Tannhauser and Tatiana Troyanos as Venus

I saw Wagner’s TANNHAUSER for the first time in 1978 in The Met’s classic Otto Schenk/Gunter Schneider-Siemssen production, conducted by James Levine. Here’s what I wrote in my opera diary the morning after:

“TANNHAUSER – first time – great!! Really a superb production (equal to the LOHENGRIN, but the opera is less exciting…) The sets, costumes, direction, and choral work were all excellent. Levine had some bombastic moments, and some places where he covered the singers, but his pacing was excellent and the orchestra played beautifully.

Kathleen Battle was the very fine Shepherd – she sounds a bit like Reri Grist, which is a huge compliment. Vern Shinall made an exceptional impression as Biterolf, and Richard Kness (most likely the cover for the title-role) sang powerfully as Walther.

Kurt Moll, repeating his Met debut role as the Landgraf, brought his warm, velvety bass to the music – a great pleasure to hear his clear and steady tones, wonderfully resonant in the deep notes.

Bernd Weikl as Wolfram (above) looked as handsome as he sounded. His voice is lyrical, and he projected superbly in the big hall. An outstanding performance! This was my first time hearing Weikl, and he immediately became a favorite.

As Elisabeth, Teresa Zylis-Gara (above) began with an exciting “Dich teure halle“, followed immediately by her thrilling singing in the duet with Tannhauser, wherein she conveyed subtle emotional changes convincingly. Zylis-Gara’s portrayal of the saintly woman as she searched desperately among the pilgrims for her beloved, and her subsequent downcast expression, were extremely poignant. She sang the Prayer with haunting expressiveness, and then walked slowly and sadly up the hill to her fate. It’s great to have Zylis-Gara moving into heavier German repertoire – the voice is satiny and strong; I would love to hear her as Elsa, Ariadne, Chrysothemis and, eventually, as Sieglinde.

Richard Cassilly was a powerful, committed Tannhauser. His voice is not tonally beautiful, but he makes great use of it. The role is vocally grueling, almost sadistic in its demands. Cassilly was able to summon great reserves of sound, but he could also be subtle at need. He not only sang tirelessly, but made the character come vividly to life. His manic joy as he described the Venusberg to the stunned court, and later his crushed, agonized acting as a returning pilgrim were particularly well brought off. Cassilly’s potent rendering of the Rome Narrative, with his mocking of the Pope’s voice, was superb. He really deserved the huge ovation…bravo!

Tatiana Troyanos was electrifying as Venus, possibly her best role. She looked absolutely gorgeous, and her portrayal abounded in sensuous allure. Her wrath when she rejected Tannhauser was so intense, and her brief appearance in the opera’s final scene was simply spectacular. Her vocalism, which could smoulder alluringly one moment and blaze forth the next, was stunning. Troyanos was a stand-out in an outstanding cast.

There were tumultuous ovations during the curtain calls, with the singers basking in the audience’s vociferous praise at the end of this glorious performance.”

~ Oberon

January 25, 2021
Premiere: Levine/Schenk GÖTTERDÄMMERUNG

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

April 28, 2020
Matti Salminen as Hagen

On October 21st, 1988, basso Matti Salminen (in a Marty Sohl photo, above) enjoyed a huge personal triumph with his magnificent portrayal of Hagen at the Metropolitan Opera’s premiere performance of the Otto Schenk production of GOTTERDAMMERUNG, with James Levine on the podium. I was there, and it was one of the great nights in my opera-going career.

This excerpt comes from the 1993 broadcast of the Wagner masterwork:

Matti Salminen as Hagen – Met 1993

July 18, 2017
My First RING Cycle: RHEINGOLD

Above: A scene from DAS RHEINGOLD, in the Met’s classic Otto Schenk production; photo by Ken Howard

A quarter-century has passed since I first experienced a complete performance of Wagner’s RING DES NIBELUNGEN as the composer intended it to be seen: over the course of a single week. In fact, though I had seen all the RING operas previously and would see them many times again since, this 1989 Cycle has been the only time to date that I attended a “RING Week”.

I was living in Hartford, Connecticut at that point in time, frequently spending long weekends in NYC to attend opera and ballet performances. My friend Paul Reid and I had decided to attended a Met RING Cycle at the end of the 1988-1989 season. There would be a Saturday matinee Cycle plus two week-long Cycles; we were determined to do a RING Week. So when the casting came out, we quickly decided on the ‘second cast’: we had seen the Hildegard Behrens/James Morris combination in previous performances of the individual operas and they were slated for the first weekly Cycle (as well as the Saturday matinee broadcast Cycle). The second weekly Cycle boasted not only a different Brunnhilde (Eva Marton) and Wotan (Hans Sotin) but ‘new’ and different casting of several prominent roles: William Johns (Siegfried), Franz Mazura (Alberich), Helga Dernesch (Fricka/Waltraute), Mechthild Gessendorf (Sieglinde), and Gweneth Bean (Erda). James Levine of course was conducting every Cycle.

We ordered our tickets, and then a cast change was announced: Eva Marton had withdrawn and would be replaced by Deborah Polaski. This gave us pause, since at the time neither of us were admirers of Ms. Polaski. We fretted a bit, but it was too late to switch to another Cycle (they had all sold out very quickly). Then came another announcement: Ms. Polaski had withdrawn and the Brunnhilde would now be Dame Gwyneth Jones. We were not thrilled with this announcement either, since Dame Gwyneth had at that time something of a reputation for wobbling vocally. It wasn’t until she appeared onstage for Act II of WALKURE that our concerns were allayed: she was magnificent in every regard.

In the days leading up to our Cycle, anticipation built and built. Concerns about leaving my young lover Kenny on his own for a week were swept aside as the idea of seeing the RING in toto was about to become reality. Paul and I had booked (separate) rooms at the Colonial House on West 22nd. I had stayed there several times in recent seasons: a very comfortable and affordable gay guest house. I was leading a promiscuous life then (despite being in a relationship) and the wonderful thing about the Colonial House was: it was hook-up heaven. There was no need to go to a bar or club: there were always men who were ready, willing and able staying at the House. The roof deck, which offered nude sun-bathing, was especially conducive to socializing.

May 1st finally arrived; Paul and I checked in at the Colonial and geared up for our big operatic adventure.

Here’s what I wrote about the RHEINGOLD in my diary:

“I am finally seeing the complete RING Cycle in the course of a single week which fulfills a long-held operatic desire. The opening RHEINGOLD was a wonderful evening and set forth high expectations for the evenings to come. Levine’s skillful conducting and the excellent playing of the Met orchestra were a major factor in this magnificent Wagnerian evening. The production is visually engrossing, especially the opening scene in the murky depths of the Rhine. Casting was strong all down the line, with a very fine trio of Rhinemaidens (Diane Kesling stood out, and Kaaren Erickson and Meredith Parsons were both very good…though I did feel they gave a bit too much vibrato at times).

Franz Mazura (above) as Alberich arrived on the scene and seized our imagination with his huge, thrustingly creepy voice, full of darkest intent. He was a fabulous Alberich, tireless in his vocal and dramatic commitment. Could this bizarre creature be more powerfully portrayed? Mazura’s generous artistry assured his huge success in the role: he made the character seem so real.

Above: the Lord of This RING: Hans Sotin. He was in top form for a really impressive Wotan, immediately showing his vocal authority in his opening conversation with Fricka. His voice – large and steady and even from top notes down to the depths – created a real sense of majesty. [Sotin, as it turns out, sang his final Met Wotans in these performances].

Helga Dernesch (above): her fascinating voice and truly intense emotional involvement brought Fricka to life – incredibly powerful, with her deep lower voice and somewhat insecure top which curiously adds to her appeal.

Her siblings were Gary Bachlund as Froh, revealing an embryonic heldentenor of some warmth; James Courtney as a sturdy Donner; and Mari-Anne Häggander, who made a great deal out of Freia’s brief role with her vulnerable appearance and full, clear lyric soprano.

The giants were especially good: John Macurdy’s voice (Fasolt) sounded huge, and Matti Salminen (Fafner) let his oily tones roll out with great dramatic force – super! Horst Hiestermann was a vivid Mime, but I found Graham Clark’s Loge did a bit too much prancing physically; and I guess I prefer more heldentenorish sound in the role, though Clark surely did sing musically and with clarity and good carrying power. Gweneth Bean’s large, rich voice created a really glorious impression as Erda – she just poured the tone out!

At the end, a very enthusiastic reception for everyone – especially Bean, Dernesch, and Levine. Very exciting inaugural night of my RING! There were many moments when chills passed thru me: a sensation that is not often experienced at the opera these days. Mazura in particular thrilled me in this way with his theft of the gold and again as he placed his curse on the Ring. So exciting!”

Metropolitan Opera House May 1, 1989

DAS RHEINGOLD
Wotan...................Hans Sotin Fricka..................Helga Dernesch Alberich................Franz Mazura Loge....................Graham Clark Erda....................Gweneth Bean Fasolt..................John Macurdy Fafner..................Matti Salminen Freia...................Mari-Anne Häggander Froh....................Gary Bachlund Donner..................James Courtney Mime....................Horst Hiestermann Woglinde................Kaaren Erickson Wellgunde...............Diane Kesling Flosshilde..............Meredith Parsons
Conductor...............James Levine

July 25, 2014