Dream Cendrillon

Massenet’s Cendrillon is an interesting take on the Cinderella story.  There are a lot of references in the libretto, especially in acts 3 and 4, to suggest that it’s all really a dream. So maybe it’s not unreasonable for Barbara Mundel and Olga Motta in their 2017 Freiburg production to riff of that and give us elements that don’t, at first blush, make sense.  Dreams are like that. It would also explain why, in many scenes, Lucette seems to be more of a spectator than a participant.

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Chéreau Ring – Götterdämmerung

And so, at last to Götterdämmerung.  The scene with the Norns is dark, very dark.  There’s a rope and not much goes on (at least that is visible) but the singing is good.  The “dawn” scene comes off more effectively here than the final scene of Siegfried but it’s still not great.  I think the problem is a combination of Manfred Jung’s dry, rather nasal tone and Boulez rather fast tempu.  It seems rushed rather than ecstatic and the Rhine Journey doesn’t thrill.  I was concerned at this point that I was being unfair to a renowned production so I put on the same scene from Kupfer/Barenboim.  It’s much better.  Siegfried Jerusalem sounds truly heroic, Anne Evans richer tone blends better than Gwyneth Jones’ (though this could be an artefact of the recording) and, crucially, Barenboim gives the singers room to sing before markedly speeding up for the orchestral music.  At least there is no naff attempt to depict a literal Grane in Chéreau’s version.  At the conclusion of this scene Brian Large pulls off the first of his artsy effects.  During the Rhine music he holds a close up of Brünnhilde for a rather long time before pulling out to a full stage shot which he then shrinks until there is just a tiny square of picture  in the middle of a black screen which, when he slowly expands it, has transformed to the Gibichung hall.  He does the same thing a couple more times.  It seems odd to introduce that kind of thing at such a late stage in the cycle.

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Chéreau Ring – Siegfried

Chéreau’s Siegfried is even less obviously “industrial” than his Die Walküre.  There’s a forge of course but there rather has to be.  Other than that we get workshop, forest and lair pretty much as one might imagine until, of course, we end up back at the ruin where Brünnhilde waits.  Brian Large injects lots of smoke at every opportunity.

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