They shoot horses don’t they?

Just back from the HD broadcast of the Met’s Götterdãmmerung.

Musically, I was really quite impressed. I thought Luisi’s take on the score was original, valid and enjoyable. His tempi were generally quite quick and there was a taut, sinewy quality to the strings that really brought out the shape of the music. No romantic wallowing here! I really liked the Gibichungs; Wendy Bryn Harmer as Gutrune, Iain Paterson’s Gunther and, especially, Hans-Peter König’s Hagen. All were well sung and characterful. Jay Hunter Morris as Siegfried and Deb Voigt as Brünnhilde were really exciting in the Act 1 love duet and Deb nailed the Immolation scene, almost managing to overcome the staging. So much for the music, what about the production?

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Siegfried ex Machina

I had very mixed feelings about today’s HD broadcast of Siegfried from the Metropolitan Opera. Early reviews and comments by friends had been largely negative about the staging and there was a widespread view that “the machine” was intrusively noisy. As it turned out I was pleasantly surprised. For once Gary Halvorson’s relentless close ups were a boon. From what little we could see of them, the first and second act sets were both uninteresting and gimmicky. The 3D leaf scattering, the crudely pixellated woodbird and the laughable Wurm were just among the sillier features. To be fair , the beginning of the third act made effective use of the set but that was the only place that it did work well. So focussing on the singers made a lot of sense.

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Die Walküre

Once in a while an opera performance really blows you away and it becomes quite hard to write about, especially when the work is as long and dense as Die Walküre because even with a great performance one is in overload by the end. Yesterday’s broadcast from the Met was one of those experiences. Here’s what I think I saw!

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