RECORDING OF THE MONTH
Richard WAGNER (1813-1883)
Götterdämmerung (1876)
Siegfried: Christian Franz
Gunther: Robert Bork
Alberich: Wolfgang Koch
Hagen: John Tomlinson
Brünnhilde: Deborah Polaski
Gutrune: Anna Gabler
Waltraute: Petra Lang
1. Norn: Deborah Humble
2. Norn: Cristina Damian
3. Norn: Katja Pieweck
Woglinde: Ha Young Lee
Wellgunde: Maria Markina
Flosshilde: Ann-Beth Solvang
Philharmoniker Hamburg/Simone Young
rec. live, Staatsoper Hamburg, 12, 14, 17, 21 October 2010. stereo. DDD
OEHMS CLASSICS OC 928 [4 CDs: 62:08 + 59:52 + 65:42 + 78:28]
Previous instalments in the Hamburg Ring Cycle have been a hit and miss affair,
but this Götterdämmerung is a real success. Even without visuals, it is a
dramatically coherent account and the on-stage chemistry between the singers
really comes across. Almost every performer here is in the top league of modern
Wagner interpretation. Nobody is perfect but the minor faults from each of
the singers, and from each of the orchestral sections, do little to diminish
the overall achievement.
Every member of the cast has something impressive to bring to this production.
Christian Franz is an expressive and believable Siegfried. His performance
suffers from some rhythmic inaccuracies in the first act, but he has no trouble
with the high notes, nor with projecting across the orchestra. Deborah Polaski
is similarly secure in her pitching as Brünnhilde. I found her performance
very endearing, her natural tone, even at the top, making her the focus of
attention in all the scenes she sings. This allows the Immolation Scene to
be all the more definitive, with the audience really feeling Brünnhilde's
transcending compassion. The small role of Waltraute is given a similarly
endearing reading by Petra Lang. She is sometimes a little sharp on the top
notes, but her tone is direct and her singing always filled with emotion.
The baddies are just as convincing. This might well be the first recording
of John Tomlinson singing Hagen, and if it is, it is worth buying for him
alone. He has the best ‘Hoihos’ in the business, and the passing years have
done little to diminish their power. Wolfgang Koch is similarly menacing as
Alberich, although he doesn't quite have the depth of tone in the lower
register. In their scene together in Act 2, he is comprehensively out-classed
by Tomlinson.
Gunther and Gutrune, not roles that usually attract star casting, are here
taken by the excellent Robert Bork and Anna Gabler. Both put in dark and complex
readings. There is a sinister air about every scene in which they appear,
and both sing with dark-hued tones that underline their malicious influence.
Gabler in particular rises head and shoulders above any other singer I have
heard in the role, and the emotional complexity of her singing ensures that
Gutrune is always presented as a real character and not just a minor functionary
of the plot.
There is some great ensemble singing from the Norns, the Rhinemaidens and
the chorus, and the orchestra is also on good form. The brass make the most
of their many chances to shine, and have an impressive tonal palette ranging
from round, warm chords to biting, angular interjections. The ensemble in
the orchestra isn't always completely accurate, and that might be a
factor to separate this recording from the very best on the market.
The orchestra is well served by the audio recording, much better in fact than
the singers. Everything that happens on the stage sounds frustratingly distant,
at least in comparison to the orchestra. The engineering does a good job of
representing the physical positions of the singers on the stage, but perhaps
goes a little far in this direction. Add more apparent distance between the
singers and the audience than is necessary. That said, the balance between
the singers and the orchestra rarely suffers, thanks perhaps to the impressive
casting.
For me, the biggest problem with the previous instalments in this cycle was
Simone Young's interpretation. She has a tendency to let the music
flow without intervening to articulate its dramatic extremes. That tendency
remains here, but is not as significant. In fact, to a certain extent she
is able to turn it into a virtue. Some of the longer passages, especially
in Act 1, benefit from her ability to maintain a sense of narrative flow without
getting too involved in the individual moments. This also allows the singers
the space they need, although the lack of dramatic engagement can be as dangerous
for the stage action as it can be in the pit. And the set pieces – Rheinfahrt,
Funeral Music, Immolation Scene – good as they all are - never feel like the
fully committed performances of the greats of yesteryear.
Nevertheless, this Götterdämmerung gets my recommendation on the
strength of the singing. A modern recording of the work usually has at least
one weak link in the cast, and it is usually either Siegfried or Brünnhilde.
Not so here; the principals are all more than up to Wagner's many challenges,
and equally surprisingly, the supporting cast is too. Minor ensemble problems
in the orchestra and a general lack of dramatic intensity are the downsides,
but it's the singing that makes or breaks any Wagner recording, and
the singing here is as good as you could want.
Gavin Dixon
Masterwork Index: Götterdämmerung
As good as you could want.