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Wagner, Siegfried: Soloists, Orchestre de l’Opera de Lyon. Conductor: Gerard Korsten. Opera de Lyon. 10.11.2007. (JMI)

 

A Production from the Canadian Opera Company

Director: François Girard.
Sets and Costumes: Michael Levine.
Lighting : David Finn.

 

Cast:

Siegfried: Stig Andersen.
Brünnhilde: Susan Bullock.

Wanderer: Matthew Best.
Mime: Robert Künzli.
Alberich: Pavlo Hunka.
Erda: Mette Ejsing.
Fafner: Kurt Gysen.

 

Few are the opportunities to see Siegfried independently of a complete Ring, since for much of the public it is the least attractive title in the Tetralogy. Actually, it seems  to  me that any other opera by  Wagner is more attractive than this, unless it is offered in exceptional conditions, particularly regarding singers. That isn't the  case in Lyon.

This François Girard production comes from the Canadian Opera Company and offers elements that reminded me on more than one occasion of works by La Fura del  Baus, particularly in the use of extras to compose scenes.  In  Act II  they made  a kind of spiderweb  representing the dragon and in the third act, the extras represented the fire around Brünnhilde’s rock. It is precisely the movement of this group of extras that provides the most interesting part of the production, which in general comes out as gloomy and monotonous. The stage is always dark with black curtains at the back and with the presence in the first two acts (over the rear of the stage) of elements of Walhalla and more extras, representing characters of Das Rheingold and Die Walküre. The Wanderer and Alberich are two old men with long beards, while Siegfried, sitting motionless on the stump of the ash tree looks like an automaton coming to life only when the action requires it. The costumes  a re dull too , all the males and extras wear some kind of white pyjamas, or perhaps prefer the Chinese uniforms so popular nowadays among conductors. The only exception to  these uniforms  is Brünnhilde's robe. Four hours of music with the only a constant contrast between black and white to look at is too much.

Gerard Korsten might not be an exceptional conductor, but he was very efficient, carrying the work along at adequate tempi, perhaps with a certain  lack of tension  here and there. The  orchestra played well for him and from a musical point of view this was  a good Siegfried.

Danish seasoned tenor Stig Andersen was a thoroughly reliable Siegfried. There are not many acceptable alternatives for the character these days and he at least can cope with the part. He is perhaps not quite  a true heldentenor and he had a very helpful hand from Mr. Korsten controlling the orchestral volume to suit his voice.  His middle range is very acceptable, while rather tight above, with a tendency to produce some not too pleasant sounds.

Susan Bullock (Brünnhilde) is a well known Wagnerian soprano, who has recently sung the role at  Covent Garden. She looks good on stage and is a good actress, and - rather  like Stig Andersen -  her high notes are not really attractive: she  finished this performance with a rather strained  sound.

Matthew Best was the Wanderer, better in the riddles than in the rest of the opera, where he lacked both vocal power and the authority for the role. Robert Künzli was a Mime with more vocal weight than usual, but was less convincing as an actor.  Pavlo Hunka was a reliable Alberich and nothing much can be said of  Kurt Gysen as Fafner, since his voice was always amplified. Mette Ejsing was a routine  Erda.

The performance played to a full house which received it without great  enthusiasm. There was final applause for all the artists, the most  intense for Bullock  and Korsten.

José M. Irurzun

 

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