Whilst the Opera Tattler attended a performance of Séance on a Wet Afternoon at the David H. Koch Theater on April 28, 2011, Miss LCU was nearby at Lepage’s new production of Die Walküre (Act III pictured left, © Ken Howard/Metropolitan Opera) with the Unbiased Opinionator.
* Notes *
Of late, James Levine gets credit for simply showing up on the podium. The audience is so thrilled to see the ailing maestro that it seems he can do no wrong. However, I was not terribly impressed with the orchestra for the second performance of this latest Walküre. For one thing, the prelude was especially lackluster and rhythmically bridled. It was as if the orchestra was playing in exact unison to the measured beat of a metronome. There was a paucity of energy and agitato one would expect from music meant to represent a man who is frantically running from his pursuers in a storm. Thankfully things improved as the evening progressed.
As Brünnhilde, Deborah Voigt hit most of her notes and did not struggle with pitch. While she gave a very youthful, sassy portrayal of the valiant Valkyrie, her voice lacked nuance. She was generally at one dynamic level and yelped the high Bs and Cs when singing the word “Hojotoho.” It sounded like she had hiccups and looking at the score, the composer did not intend for those octave leaps to end in clipped staccato. Voigt’s interaction with Bryn Terfel as Wotan worked well. The two succeeded in establishing their close rapport and fondness for one another in Act II, making the heartbreak of their farewell at the end all the more devastating.
Terfel’s Wotan was multifaceted and robust, even until the very end. He clearly did a fine job pacing himself. As Siegmund, Jonas Kaufmann was both convincing and lyrical. His voice carried effortlessly and his “Winterstürme wichen dem Wonnermond” consisted of one glorious legato line after another.
In contrast, Eva-Maria Westbroek (Sieglinde) gave a somewhat disappointing performance and the strain in her voice was evident as she fought through her last phrases in beginning of Act III, which are among the most beautiful lines of music in the opera. She did have cold on opening night, so perhaps she was still on the mend.
The highlight of the evening was, surprisingly, Stephanie Blythe’s portrayal of Fricka. For the first time, I saw Fricka as something other than a vindictive, nagging shrew. I was reminded that she is a woman in pain, someone who has been deeply hurt by Wotan’s transgressions. Blythe opens up her character’s vulnerabilities to the audience, suggesting that perhaps she, too, deserves a bit of our sympathy. In order to uphold the Law, she demands punishment and justice, but we often mistake her for someone who is solely out to seek revenge.
Wagner was deeply influenced by Arthur Schopenhauer who was known for his pessimistic view of the human condition and his philosophy of the “Will,” a concept so important that Wagner felt it was necessary to use Brünnhilde to personify Wotan’s Will as a separate entity apart from himself. Schopenhauer also makes a clear distinction between punishment (to prevent future violations of the law) and revenge (motivated by reconciling past wrongdoings with the pure intent to harm and no constructive impact on the future).
Perhaps Fricka is after revenge and cunningly disguises it as punishment. Wagner leaves just enough ambiguity in his score to make us wonder. The true thrill of this particular production was not delivered by Lepage’s ostentatious morphing planks, but with subtlety through Blythe’s artistry and empathy for her character.
Regietheater seems to operate on the notion that in order for us to make old works exciting and relevant to the younger generations, we must to rely on shock value. The beauty of Wagner’s work lies within the inconspicuous moments that expose human frailty and intimacy. Directors may consider paying more attention to the small details hidden in the score rather than embellishing the composers work with obscenely grand spectacles that are neither necessary nor relevant.
The Opera Tattler 
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