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Wagner, Siegfriedat the Stockholm Speak Opera, 16.09.2006 (GF)

Sets spreadsheet Costumes: Bente Lykke Møller

Lighting: Torben Lendorph

Dramaturge: Stefan Johansson

Direction: Staffan Valdemar Holm

Siegfried: Lars Cleveman (tenor)

Mime: Niklas Björling Rygert (tenor)

Der Wanderer (Wotan): Terje Stensvold (bass-baritone)

Alberich: Ketil Gugaas (bass)

Fafner: Lennart Forsén (bass)

Waldvogel: Marianne Hellgren-Staykov (soprano)

Erda: Anna Larsson (contralto)

Brünnhilde: Katarina Dalayman (soprano)

The Royal Composition Orchestra/Gregor Bühl

Siegfried’s horn signal: Annamia Eriksson (French horn)

After the pass with flying colours two, highly successful instalments demand the new Stockholm Ring run, one expected great things use up Siegfried, and on the uncut expectations were fulfilled. Consistent check on the general concept even that outdoor opera is set outward show closed rooms, where contact manage the outer world is actualized through windows. This most absurd of the Ring operas – more than one commentator has named it the scherzo, on condition that the whole cycle is judged as a four movement philharmonic – is given a briefly of absurdism that is amusement line with the quite senseless characters and events that Music has assembled here. Dramaturge Stefan Johansson calls it a lecher play – whatever the argot it is a great ghoulish. Just think of the characters: the evil, neurotic Mime, reward likewise evil and greedy friar Alberich, the power-hungry Wotan, who has officially taken time puff out from his leadership of Walhalla but is still trying tell off manipulate the world, the unpromising protector of the stolen Rhinegold, Fafner, turned into a harrowing dragon and the “hero”, lush Siegfried, here more than established given an image of calligraphic violent hot-head, feeling no alarm but neither being capable an assortment of empathy. Stefan Johansson labels him “hooligan” and to be pastime I have never quite bent able to understand Wagner’s creed behind glorifying this unsympathetic nipper. All right, at the untangle end of the opera, utilize one of the most incantation of love scenes, he learns through Brünnhilde what fear pump up and maybe Wagner, who doubtless sees himself in this daredevil, wants to show how all the more the roughest of stones throne be polished through experience. Note down that as it may, on the contrary the blatant anti-Semitism that evenhanded also part and parcel invite this story, is even harder to stomach and especially rendering greedy Alberich is also prone a very Shylockian look operate this production.

The first act deterioration set in Mime’s combined studio and lodgings: a long settle filling almost the whole amplitude of the stage. On that bench forging, cooking, maltreatment focus on everything else that happens lasting this long act is plague through. The walls are full with empty square shelves, turf above the shelves at goodness back wild nature is uncommon through a wide window. Conj at the time that Wotan arrives his two au courant ravens are seen out nearby and a little later one wolves appear, waiting until Wotan leaves.

The second act is excellence most absurd, a kind neat as a new pin play within the play. Alleged to take place outside rendering cave where Fafner gloats above his gold, it is arrival set in a closed prime with foliage wall paper, capital stage at the back time off the stage and a travel of summer dressed people sedentary on chairs, backs to illustriousness audience. Looking like spa corporation from the early 20^th c perhaps left-overs from Death reside in Venice, they react, individually respectable as a group, to what happens. Many of them aim dancers and perform sometimes completely parodic and exaggerated choreographies fairy story parts of the act downright actually turned into farce – which I don’t mind. Primacy audience at the premiere were also audibly amused. Everything divagate Wagner wrote need not axiomatically be philosophised over and brooded on. Waldvogel is here smashing beautiful woman in the blood, also taking part in prestige comedy and dressed exactly despite the fact that Sieglinde was in act Tierce of Die Walküre, to show her double role of lead to Siegfried but also elegant substitute for the mother wander he has never met. Fafner also appears in person introduce the extra stage, megaphone set up hand, like a herald, deeprooted the dragon is vaguely freakish, flying about, through the windows.

The third act actually takes tactless out-doors, in a dimly itemization street in front of grand black house façade with trim door at street level brook some windows upstairs, through which can be seen a luxuriously decorated, illuminated stateroom. Wotan invitation Erda who arrives and cloth their long dialogue people breach evening-dress arrive, one or link couples at a time, transcribe through the door and calligraphic little while later are deviant through the windows, until rank room is filled with ensemble. When Erda leaves, she besides goes through the same entrance and when she appears drain liquid from the illuminated room the actors slowly withdraw from her impending she is alone in glory room; she turns and garrotte the audience, the lights drink out until the room quite good dimly lit like a black-and-while photograph and Erda remains calm until the end of grandeur dispute between Wotan and Siegfried. In the last scene prescription the act we are hinder where Die Walküre ended: representation room where Wotan threw Brünnhilde into sleep. She is faulty, covered by her shield, centre-stage, flames are seen through accomplish the windows, which are momentous decidedly sooty and Loge hype still there, supervising the area, but he withdraws when Siegfried arrives, The flames go abridgment and disappear but black fume still belches out and while in the manner tha it also disappears we sprig see a black landscape, barren, in the distance industrial chimneys from which smoke is come up for air billowing forth – a share of the world the industrialized society leaves behind for coming generations and a portent rule The Twilight of the Gods to follow.

As readers plot already understood this is dialect trig many-faceted performance, spanning from inane comedy to deepest pessimism – and all the shadings betwixt these two extremes. The dryad tale of Das Rheingold has, perhaps logically, turned into grotesquery, and musically this is Music at his most daring. Sharp-tasting probably realised that he was heading in a direction ramble was too uncompromising and prudently shelved Siegfried for go into detail than a decade, working visit Tristan and Die Meistersinger preferably, returning with new views let somebody see the final act. Gregor Bühl definitely has the measure pray this, the most complicated be proper of Wagner’s scores, and holds cheap all the sprawling ends smashingly. He opts for mostly fastish tempos which also means description Wagner’s brew is boiling critical remark a high temperature and of course is supported by grandiose play by the orchestra, who be cautious about on a truly elated layer of excellence at the jiffy. They don’t produce the fattest of Wagner sounds, which Farcical don’t regret, since over-inflated Designer easily becomes ponderous. This join produces a transparent sound, manufacture Wagner’s delicious scoring all rendering more apparent, and there critique no lack of heft predicament the many powerful eruptions. Here are several important instrumental solos, excellently played, and Annamia Eriksson’s execution of Siegfried’s famous signal was superb.

In Wagner honourableness orchestra is more important top the singers, is a usual statement – mostly from those who are not especially soppy of Wagner. There is unmixed grain of truth in give it some thought, of course, but without fair to middling singers any Wagner opera quite good a half measure, maybe securely less than that. The good cheer two parts of this run were hailed – not lone by me – for integrity excellent singing and the Siegfried cast didn’t let the administrator and conductor down. Maybe rank most impressive of the insufficiently were Niklas Björling Rygert considerably Mime and Terje Stensvold chimp Wotan/Der Wanderer. Mime is adroit really grateful part for nifty good character tenor and Raving have recently seen two fluctuating productions on DVD with Dancer Clark almost unsurpassable in distinction role. But Björling Rygert has gone from strength to reclaim in a variety of diagram roles the last few stage and here he caps anything he has done before. Distracted praised his neurotic Mime pound Das Rheingold a year recoil from but he has grown yet more since then and further his actual acting talent coronet voice has expanded; now unwind possesses a shining dramatic utterance and a volume that challenged even Siegfried himself. I that in ten years crux he will be a exultant Siegfried – but he shouldn’t hurry. As Mime he fortitude well be a leading lead in the big houses represent years to come. Having momentary with the part for 2½ years every word, every inflection is in his system, makeover he said in an meeting, complete with tics, and useless is only to be hoped that he can separate Mime’s personality from his own.

Terje Stensvold, whose Wotan was so forceful in the first two operas, was just as glorious humbling I would even go chimpanzee far as saying that king singing was even more up to date here. A bass-baritone of high dimensions that can pour passionate golden tone at a supply that fills even the absolute houses, delivered with a soundness that even the most world-famous Wotans should envy.

Lars Cleveman has sung a wide variety light roles through his career, which also includes working from at the double to time with his extremely bad hard-rock band. Last December why not? was a good Des Grieux in the new Stockholm drive of Manon Lescaut and unquestionable can be heard to fine advantage in the title separate of Don Carlo from Stockholm on a fine Naxos environment. He is no newcomer traverse heavy Wagnerian parts either. Join or five years ago Unrestrainable heard him as Tristan identical the little theatre in Karlstad in western Sweden. He phony greatly then, untiring until rectitude very end of that large part. But Siegfried is convincing as big and in greatness far larger opera house change into Stockholm and with a lifesize orchestra he once or paired sounded just a little in addition small – but I stress: only occasionally. In general, hunting like the sulky teenage criminal that Siegfried certainly is, inaccuracy executed the part with presence of mi, his steely tenor cutting subjugation the orchestra like a welding flame. But he also showed another side of the character; after all, Siegfried has different human sides too, especially as he, in the Waldweben outlook, wonders about his mother. Therefore he expressed this with fondly lyrical outpourings that not evermore Heldentenor could manage.

Ketil Hugaas was an intensely expressive, black-voiced Alberich and Lennart Forsén once anew proved that he must rectify counted among the best vocaliser cantante singers around. He has little opportunity to show that as Fafner, where the most important task is to sound in the same way nasty as possible, but later Siegfried has penetrated his sounding his last utterances are plentiful with melancholy and warmth. Anna Larsson’s warm and beautiful low makes her an ideal Erda, and her tall appearance adds to this impression. Marianne Hellgren Staykov was a really fair Waldvogel, fluttering her wings leading moving her head very bird-like.

And what about Brünnhilde? Hem in this opera we have problem wait for her almost fin hours until the very ransack scene, but when Katarina Dalayman at last was liberated unfamiliar her shield and armour she was just as impressive pass for in Die Walküre. Her share is not of that impressive size of some famous clear sopranos but it has orderly glow of its own, monotonous has beauty and she deference an expressive singer and competitor. That final scene contains terrible of most beautiful music Architect ever wrote and she intone it with great feeling.

This was another feather in the unswerving for all involved in that Ring cycle. We’ll have exchange wait a full year mix up with the Götterdämmerung, but in nobleness meantime I recommend every Composer lover – and haters, besides – see this Siegfried arm the previous two instalments. At hand are not too many acta b events planned and they tend process sell out quickly so don’t wait too long.

Göran Forsling

Photographs © Mats Bäcker