Carl Nielsen’s operas don’t get performed much outside his native Denmark so it’s no surprise that the only video recording of his 1902 opera Saul og David was recorded in Copenhagen. The libretto is a fairly straightforward telling of the familiar story of Saul, David, Goliath, Samuel and so on. The music is very much of its time. It’s bold and lyrical; perhaps reminiscent of Strauss in a conventional mood or, perhaps, Elgar. There are some really good choruses and David and Michal get a gorgeous duet in Act 3.
The concluding instalment of Kasper Holten’s Copenhagen Ring really does wrap it up as Brünnhilde’s story. It’s very effective in so doing too. Holten states that the central problem in interpreting the Ring is the ending and he points out that Wagner struggled with it for years before resorting to what Holten sees as a cop out; the tired, patriarchal device of wrapping things up by having the heroine sacrifice herself for her man. Holten rejects this and instead offers us a living Brünnhilde as a symbol of hope and renewal at the end of a century of terrible strife. I wish I were as optimistic.
So, onto Siegfried. Now we are in 1968 but it’s a rather laid back Danish 1968. It doesn’t reference any of the canonical events of that momentous year though there is a bit of a youth vs experience vibe. Holten doesn’t let us forget that Siegfried is 18 and Stig Anderson, at 60, manages to pull off the look very well. James Johnson’s Wotan, on the other hand, is shown in decline; the elder statesman who can’t retire gracefully, like a Berlusconi or Murdoch. Mime is an ageing nobody hunched over his typewriter and still yearning for some “success”.