Wagner: Die Walkure (de Billy)

Introduction

The second opera in Wagner`s huge Ring Cycle, although officially the `First Night` (as Das Rheingold is the prelude to the whole story), introduces mankind to the world, bringing with them incest, death, destruction, and the beginning of the end for the Gods. All good family entertainment, with arguably the most wonderful operatic music written.

This production is directed by Harry Kupfer and conducted by Bertrand de Billy.

Video

The video quality over the three DVDs in the set is adequate, let down slightly by the stage lighting (which probably looked fine in the theatre itself) and all scenes, and costumes, appear to be rather dourly coloured, althuough the set is impressive and would have looked fantastic live. The fire around Brünnhilde`s rock, something difficult to pull off effectively, was particularly well done. Another small irritation is the camera shake that appears in some close-ups. I can only imagine they were set on the orchestra pit wall and every movement from the conductor was passed on.

The performance is presented in a region free 16:9 anamorphic transfer and NTSC format, as we have come to expect from Opus Arte productions.

Audio

For audio, we again have a choice of LPCS stereo or DTS. Both are quite adequate for the music, however, as usual, I preferred things after altering my speaker system to `surround sound`.

As it`s Wagner, we have a large orchestra (looking rather cramped) in the pit and as such there is never any problem in getting the music heard, although one annoying aspect of this performance is the setting of the stage microphones. It seemed that they were all laid out along the front of the stage, which was fine when the singers were there as well, and even better when they were rolling around on the same level, but as the cast moved towards the rear, I had to struggle to hear them at times (although you could tell they were still singing as the subtitles kept changing).

Features

The set comes with a booklet containing a reasonable synopsisand description of the production in English, French, German and Spanish and the disk comes with subtitles in the same languages (plus `CA` which I assume is Catalonian) and a cast gallery and illustrated synopsis with commentary. It would be worth popping over to Disk 3 to watch this first if you`re unfamiliar with the story.

Conclusion

Richard Berkeley-Steele (Siegmund) sounds somewhat strained in much of Act 1, and often he delivers a vibrato so wide you can drive a bus through it, but fortunately recovers enough to give everything he has for the finale where he draws the sword from the tree and flings himself at his sister for a night of passion. His performance in Act 2 improves dramatically, although his music his generally far more within comfortable range and so he is able to produce a far more lyrical sound.

Linda Watson (Sieglinde - the aforementioned sister) is far more suited to her role and as such, is able to convey the passion, and volume that is required. It`s a little unfortunate that she really isn`t the `Sieglinde type` (apart from her voice), but this is opera, and we have to suspend disbelief on certain occasions. When presented with the sword in Act 3 she gives as much as possible, and despite the problems with the stage mics, manages to soar above the orchestra with no ill effects.

Erik Halfvarson (Hunding) strikes a imposing figure as the man who has vowed to kill Siegmund (once he`s had a good rest) and tries hard to convey some menace in his voice, but this can often get in the way of the notes, which seem to disappear completely in the lower register to be replaced by groaning (but very dramatic groaning nonetheless).

Lioba Braun (Fricka) is impressive. She gives everything to her small(ish) role in this opera and manages to convey the power and danger of a woman who has been defied by her husband, without the need for overpowering wailing some Wagnerian sopranos deal out.

Falk Struckmann (Wotan) is superb. He immediately takes control of the stage (his height helps) and successfully comes across as the henpecked husband (even Gods have their problems) when Fricka threatens him with all sorts of nastiness if he doesn`t have Siegmund (his own son from a liaison with a human) killed to avenge Hunding (who loses his wife, Sieglinde, to Siegmund, despite the fact that they`re brother and sister)…-takes a deep breath-…and also as the loving `father` of Brünnhilde, the favourite Valkyrie. It`s a part that requires enormous stamina and the ability to sing as if he could destroy the world (well, that`s his prerogative) and to break your heart in his farewell to Brünnhilde (Act 3). This is some of Wagner`s best music and Struckmann doesn`t let us down.

Deborah Polaski (Brünnhilde) struggles somewhat with her `Hojotohos` (the war cry of the Valkyries), but then it`s a role which only the most accomplished and fit (strength-wise) sopranos should ever attempt, but what she lacks in note-hitting she makes up for in power and dramatic urgency. The Act 2 duet with Wotan is gripping, and when she meets up with other Valkyries at the beginning of Act 3, the intensity depends even further.


Overall then, a reasonably good production, but I was bemused by the curtain calls at the end of Acts 1 and 2 and I felt let down a little by the orchestra (even though it`s amusing to see them disappear to the bar for each interval while everyone takes their bows on stage), which often produces a fine and rich sound (microphones permitting), but some scrappy playing (a painfully bad false entry by the cor anglais in Act 1 and wobbly clarinets and trumpets) and dubious intonation all over the place stand out too much and detract from the overall enjoyment. However, Bertrand de Billy (great name!) whips them up into the necessary frenzy and paces the music well for most of the opera.

I would certainly recommend this as a very watchable Walküre.