* Notes *
Los Angeles Opera's Ring cycle continued with Die Walküre yesterday evening. The orchestra sounded fairly good under James Conlon, though at times they did play gingerly, carefully hitting each note. The cello solo in the beginning of Act I Scene 1 was lovely, but the brass did not sound clean for Hunding's Leitmotiv. There was a painful brass mistake as Siegmund sang in Act I Scene 3, but otherwise only a few stray sour notes and haziness. The playing was mournful and together for the end. The singing was gorgeous, particularly in Act I, with Eric Halfvarson (Hunding), Michelle DeYoung (Sieglinde), and Plácido Domingo (Siegmund). All three have such beautiful voices, with enough heft to be heard over the orchestra. DeYoung sounded silvery and young, rather different than her role as Fricka the previous evening. Domingo did admirably, considering he had surgery for colon cancer just in March. At times it was difficult to discern exactly what words he was singing, but the prettiness of his voice came through. Ekaterina Semenchuk was strong as Fricka, very rich and stirring. Linda Watson fared less well as Brünnhilde, sounding shrill in Act II, but did have some tender moments in Act III. Her sister Walküren sounded hale and hearty, they even managed their choreography convincingly and no one fell. Vitalij Kowaljow was believable as Wotan, especially during Wotans Abschied von Brünnhilde und Feuerzauber.
The production, from Achim Freyer, is a stylized riot of color and movement, including clown makeup, light sabers, contortionists, dancing, spinning horse/bicycle hybrids, and the like. Sieglinde and Siegmund do spend a lot of their time in Act I singing from across the stage from each other, and it was a palpable relief to see them actually in contact with one another in Act II. The staging is novel, the end of Act II was especially stunning, and the Walküren scene (Act III Scene 1) was amusing.
* Tattling *
The audience was embarrassingly ill-behaved, talking even during the singing. Watches were heard not only at the hour, but one went off for 10-12 rings as an alarm during Act II. One person's cellular phone rang on at least 3 occasions, once before the watch alarm and twice afterward, and there was yet another phone heard at the end of the act. Cough drops in cellophane seemed to be unwrapped at every quiet moment. On the orchestra level, a certain visitor from New York made her own announcement before Act II about this, and thus managed to enjoy some respite from the crinkling for the rest of the opera.
The Opera Tattler 
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