The
complete Barenboim Ring, which was originally issued
as a sound recording on CD and subsequently also as a Unitel
video production - which I never saw - has some claims
to be the best of latter-day Rings musically. It
is good to have it in this format making it possible to
view Harry Kupfer’s thought-provoking staging in harness
with Barenboim’s organic interpretation of these many-faceted
scores. It is here presented in surround sound although
I have viewed and listened to it in two-channel stereo
only, which sounded well enough. The only black mark is
some metallic distortion to Birgitta Svendén’s voice in
Erda’s Warning, something I also detected on the sound-only
recording. It doesn’t diminish the total listening pleasure,
though. The booklet also mentions the visual distortions
during the first 25 minutes, i.e. the scene with the Rhinemaidens
and Alberich, “caused by the on-stage laser technology
... The laser frequencies caused interference in the circuitry
of the video cameras. This was already noticed during the
recording, but at the time this problem could not be overcome.” It
should also be mentioned that although filmed in the Festspielhaus
in Bayreuth this is not a live recording, which means that
there are no disturbances from the admittedly well-behaved
Bayreuth audience and of course no applause. There is however
a real feeling of occasion. Whatever reservations one may
have about the production the whole cast was undoubtedly
greatly inspired.
I
am often in two minds about going into detail about the
sets and direction, which often robs the viewer of the
surprise; that sensation of the first time experience in
the theatre. With a DVD production I should be able to
judge the lasting effect, the lasting value. However I
have not been able to see the performance more than once
straight through, plus a preliminary look a week or so
earlier when I skipped through the disc to get a clue to
the production. Anyway the first scene is green, the water
of the Rhine possibly less muddy in Wagner’s time. I don’t
know how it works, but the Rhinemaidens and Alberich suddenly
disappear into the water, only to pop up somewhere else
a little later. The maidens are dressed in tight half transparent
costumes and they move about, now swimming, now dancing,
now making sexually alluring movements to tease poor Alberich.
They are a good-looking and well-singing trio.
Alberich
appears again in the third scene, again mainly green with
an enormous metal construction, symbolising the industrial
activities in the underworld. The evil Alberich is dressed
in blinding white – as is his bullied brother Mime, here
portrayed as a laboratory engineer with a magnifier as
a third eye. Scenes two and four, outside the newly erected
Valhalla, are sparsely lit and greyish, the Gods dressed
in sundry costumes from times hard to date. Wotan in slouch-hat
and carrying his ubiquitous spear, Froh a pale dandy type
from the roaring ’20s and the giants six metres high with
pin-sized heads and long clumsy arms which they wave limply
from time to time. All this makes it hard to believe that
they have been able to build Valhalla. The Gods also carry
suitcases, seemingly made of glass - they are to move in
soon! - and Donner’s hammer, also of glass, is of super-size,
and he swings it more or less constantly, showing his constant
hot temper. In general they seem to be a bunch of neurotics,
having short fuses and giving full expression to their
feelings, the only exception being the stoic, well-organized
Loge. He is acted with chilly precision and elegance by
Graham Clark who makes a real character of the half-god
that stays in one’s memory long after the show is over.
Erda is the cool worldly-wise visitor from the lower regions,
so low in fact that she sings her warning half descended
in the ground.
Vocally
most of the cast are on a very high level. Linda Finnie’s
Fricka can be shrill and unsteady but she is also capable
of an exquisite pianissimo. Helmut Pampusch is a whining
Mime, very much in character and he, like all the rest,
is a convincing actor. A real stage presence and an imposing
bass voice make Gunter von Kannen one of the best Alberichs
imaginable, his face catching all the various feelings
in this composite character. The giants sing well enough,
good Germanic basses not too difficult to find. Bodo Brinkmann’s
baritone is a pliant instrument for this hot-spur. Birgitta
Svendén’s unaffected, beautiful singing of Erda’s monologue
reminds me of two other important Swedish Erdas: Anna Larsson
from the current Stockholm production and Kerstin Thorborg
from the inter-war years.
But
the hub around which everything rotates in this opera,
is Wotan, warts and all. His weaker sides, especially the
almost fanatic greed, are highlighted in this production.
John Tomlinson’s bass voice has enough baritone quality
to make him a near ideal Wotan and what he sometimes lacks
in vocal colours and sonority he more than compensates
for by the identification and intensity of his delivery.
This is a portrait that is difficult not no admire, whether
one likes the concept or not, and that also goes for the
whole production. I recently reviewed the Amsterdam production
conducted by Hartmut Haenchen (see review) and found much
to admire there too. This is another way of regarding Wagner’s
inexhaustible masterpiece and while I wouldn’t like to
play either of them that frequently, I will be happy to
return to both
when feeling in the right mood, always aware that this Rheingold has
the best singing. The true Wagner freak needs both, of
course. If forced to make a choice I would opt for the
Barenboim.
Göran Forsling
see also review by Tony Haywood
See Das
Rheingold
Die
Walkure
Siegfried
Gotterdammerung
John
Tomlinson (bass-baritone) – Wotan;
Bodo Brinkmann (baritone) – Donner; Kurt Schreibmayer
(tenor) – Froh; Graham Clark (tenor) – Loge; Günter von
Kannen (bass) – Alberich; Helmut Pampusch (tenor) – Mime;
Matthias Hölle (bass) – Fasolt; Philip Kang (bass) – Fafner;
Linda Finnie (mezzo) – Fricka; Eva Johansson (soprano) – Freia;
Birgitta Svendén (mezzo) – Erda; Hilde Leidland (soprano) – Woglinde;
Annette Küttenbaum (mezzo) – Wellgunde; Jane Turner (contralto) – Flosshilde 
[154:00] 
