More Wagner

So my first ring cycle, how'd that cherry popping go? 

This was a semi-staged performance, which as far as I can see, is one of two settings for performing opera. Staged is where there's scenery and stuff. Semi-staged covers everything else. I'm sure someone will try and argue there's a not-staged, but it's impossible for opera singers to just stand there and not emote/move at some point, at which point I'd argue it become semi-staged. This one went a little further with some acting, and singers wandering around and on/off the stage.

I loved it. And it had some very good reviews: Das Rheingold; Die Walkure; Siegfried;  Gotterdammerung

The reviews (times, torygraph, etc) were all exhibiting much the same love fest for the cycle. 

Das Rheingold is the shortest of the four, a mere two and half hours, and in order to maintain the descent into general nastiness, there were no breaks. I thought this seemed reasonable, but I did overhear some complaints from the more elderly prommers around me. Thoroughly enjoyed it, I did feel that Wotan was a bit light in places, and Loge, although good, seemed to be playing more for laughs than I'd prefer. But those are minor quibbles. The orchestra under Barenboim was on superb form, and the singing was (overall) excellent. I felt it rocked along nicely, and actually set the scene for next three very well. I've seen a couple of performances where DR was played as a light weight appertif to the others. That's wrong, it sets out the major themes including how/why Wotan is a prick. The giants were great, and along with Alberich, quite dominating (as they should be).

Die Walkure, the one everyone knows one bit of, was the following night. OMG Nina Stemme as Brunnhilde. I felt this was stronger in the singing, in particular Bryn Terfel added far more authority and depth to Wotan. But Nina Stemme, Brunnhilde is a demanding part, and she nailed it. Mesmerising. The ride of the valkyries was good, but I may, just may, have preferred Opera North's version I saw a couple of years ago. I think that was due to the Leeds opera house being smaller, so the power and sheer fuck off-ness of the valkyries was amplified and became almost claustrophic, which seems right. 

Still, brilliant performance. 

Couple of days break, then back for Siegfried. Fatigue? pah. It's by this point that the storyline has become more convoluted than a Deep Purple family tree. Wotan is, in some way, related to over two thirds of the cast (either directly fathering, or grandfathering them), it may be higher, I'm usually confused by this point. In a typical dramatic offering, the main dude (Wotan) turns up in disguise, which doesn't help things. It's long. But it didn't feel like it, in fact Act 2 and 3 rocked along. The main focus is Brunnhilde, and her ability (stamina!) makes or breaks Siegfried. Nina Stemme was perfect. Power, grace, subtle, nailed everything, clear, emotional. It was stunning. She did show up Siegfried a bit. But his performance was excellent at pulling the audience with him, engaging actor that chap. 

Minor sideshow with Tristan and Isolde to break up the Ring cycle.

And then culmination, Gotterdammerung. Which is just the best name (means twilight of the gods) for an opera. Another 6 hour, two interval festival of Wagner. And still the orchestra didn't put a foot (?finger?) wrong. Storyline: quick summary by the Norns, which seems fair enough after roughly 15 hours of opera. Yet another stunning performance by Nina Stemme. And I enjoyed this Siegfried (Andreas Schnager). It's emotionally draining this opera, the first time I've seen it, and things don't go too well for the gods - as you'd guess from the title.  The rest of the audience seemed very appreciative with a very very long sustained applause for the entire ring cycle.

Truely worth every penny, and probably then some. Such engaging performances, absolutely perfection from Barenboim and the orchestra. Thanks BBC Proms. I'd looked at other cycles for the centenary year, but on hearing the rumours of a Proms cycle, held off for that. Glad I did. 

i would also like to say, you don't need to visit a sauna when you've been at the Royal Albert. Some air con wouldn't go amiss...

B

The ring, Wagner, and me.

I've harboured the desire to experience the full Ring cycle at least once. And with this being the 200th anniversary of his birth, this did seem to be the year. But why Wagner?

I grew up in a musical family, there was always something either on the stereo/radio or being played on various instruments. But not opera. There was a plethora of musicals and light/comic opera. To this day I can't stand Gilbert and Sullivan, I've come around to admitting that Sullivan was a very good composer, but his work with Gilbert does not make me feel good. I get the same response that hard-core born again god botherers get with Slayer, homicidal. I blame the name, nothing good can come from a name like Gilbert.
Musicals in general have the same effect on me. There are a few I like/love, but they weren't the ones I grew up with, namely: Rocky Horror; Chess; and err I thought there were a couple more. Oh yeah I can, at a pinch, tolerate Jesus Christ Superstar. And obviously the entire ouevre of Matt Stone and Trey Parker. That's all good. Today's trivia fact: Murray Head (one night in Bangkok / Chess) is the brother of Anthony Head (Buffy and many other excellent things)

So not a lot of opera, and thinking about it, I don't think there was any in the LP collection which I worked my way through as a nipper.  Mmm vinyl. There might have been some Puccini and Verdi in my grandparents collection, but I generally ended up playing Andy Stewart's stuff (stop cringing Neil).

Thinking about it, aside from limited exposure on the radio (my parents didn't listen to ClassicFM very often, more usually National Radio which would occasionally play opera), what opened me to Opera (capitalisation intentional) was TVNZs Sunday afternoon/evening Opera. In retrospect it seems somewhat incongruous for a sports mad country, with 2 (maybe 3?) TV stations, to devote Sunday viewing time to Opera. Anyway, I clearly remember being utterly entranced by Die Fledermaus (The Bat) by Strauss. I have no idea who was singing, but I loved it. Drama, music, brilliant singing, staging, conflict (well ok, not much in this one), humour - so pretty much everything you want from entertainment. And for an entry point to Opera, very approachable.

I also remember Die Zauberflote (The Magic Flute) by Mozart, which again is a nice gentle introduction. And with the hook-ins to the Smurfs, I had something to get into it from. Looking at that list of Smurf classical music, I'm beginning to wonder how much influence that TV series had.

But the one that utterly wrapped itself around my little head, was Die Fliegende Hollander (The Flying Dutchman), by - wait for it - Wagner. I also remember being told I had to go to bed, so it must have been an evening show and therefore missing half of it. Why no, of course I don't harbour grudges. However the passion, excitement, storyline, musicianship, conflict sunk into my impressionable head.
And this, I believe, is where my addiction began.

Over the years I've explored more opera. Not in the same way as I've gone through other genre's, probably as it's best experienced live and you need to have 2-3 hours (unless it's Wagner...) to set aside. I used to suffer from a lack of people to go with, and was a little intimidated by popping along to the opera - although not, oddly to symphonic performances - but got over that and have no issues going on my own. I reached a point many years ago when I realised my musical tastes, best described as diverse (and more accurately as slutty), meant finding companions would often be difficult.
I like Puccini, Verdi, Mozart etc and musically I often listen to excerpts from their operas, but Wagner. Oh Wagner. There's something there that makes you sit back and get involved in the music, you can't just switch it off. The music and drama sucks you in.
Yes, Wagner was a bastard and his social legacy hasn't been the best. But then a lot of great artists weren't the nicest of people. And look at Cliff Richard, he seems a thoroughly nice chap and his music is crap.
Far better writers than I have explored this, and I would recommend Stephen Fry's documentary 'Wagner and Me'.

And so to the BBC Proms Ring Cycle. I'd looked at other options, but in terms of cost/availability and convenience, the Proms won out. And when the singers were announced, it seemed like I'd made the right call. Sitting online waiting for queue to reduce from 2700 so I could buy tickets was slightly nerve-wracking, but ended up only taking 2.5 hours (so half an opera).

I'll continue this with some reviews of the actual shows ...

B

Elderly Promming Ninjas

This is a cautionary tale: Beware elderly Promming ninjas.

(for non-Brits, this is the BBC Proms, as in the classical music series that results in the (in)famous Last Night at the Proms, the 'kerchief wearing, Union Jack waving, Land of Soap and Water night of all things British - well English anyway).

I was down for a few Proms gigs (Mahler and Stravinsky mainly), went for a wander around my usual haunts on Saturday, including getting some Asafoetida which no matter where I am, proves difficult to find. Thanks to the Borough market for supplying it.
Headed to the Proms, thoroughly enjoyed it, and felt twinges in my foot during the second half. Meh, thought I, a manly man, simply a grumpy muscle. Things got worse during the night, to the point where I couldn't sleep, so had a shower figuring if it was muscular that should relieve pain.

That didn't work. So poked at it. This located the (very) sore part, and from my years of explaining anatomy (badly) to impressionable 1st years, I figured I'd broken a metatarsal, or in language the Brits will understand, the footballers injury. I pottered off the hospital early Sunday morning, managing to split between the drunks leaving, and the kids sports injuries coming in (result!). My diagnosis was treated with a patronising grunt.
Poking was done, until I called time on that. An Xray of the offending foot, and voila, vindication ! Go me. Since I had a reasonably heavy Sunday and Monday, a cast was slapped on, pain relief drugs provided, and a stern warning provided not to put weight on the cast, or get it wet.
I crutched (is this a verb?) off, promptly got caught in a London mini-torrential downpour (mini in time, not torrential-ness), caught a bus, then had to cope with the tube. The tube is distinctly unfriendly to people with: suitcases, wheelchairs, crutches, indeed any minor ambulatory ailment is ruthlessly exploited.

As you'll have guessed the cast was a bit of a mess even before the Proms that evening. Pain was present, and so that magic elixir, booze, was employed. Things improved dramatically. Great gig.

So what caused this eventful cast inducing break? I'm putting it down to those grey haired elderly classical loving prom going retired ninja's.
A more prosaic view could be me slipping when getting out of bed, slamming the great toe against the door, and causing merriment to S and I since it didn't hurt, rather it just looked dumb.

Love, your new favourite grumpy cripple, B