| PRODUCT DETAILS | | Wagner - Die Walkure / Hofmann, Altmeyer, McIntyre, Jones, Salminen, Schwarz, Boulez, Bayreuth Opera (Boulez Ring Cycle Part 2) |  | |
Wagner - Die Walkure / Hofmann, Altmeyer, McIntyre, Jones, Salminen, Schwarz, Boulez, Bayreuth Opera (Boulez Ring Cycle Part 2)
Wagner's ideas of "racial purity" reach a logical conclusion in Act I of Die Walküre, powerfully performed in this Bayreuth production. Siegfried, the tragic hero of the cycle, is begotten in an adulterous, incestuous mating of Siegmund (Peter Hoffmann) and Sieglinde (Jeanne Altmeyer), a twin brother and sister. No miscegenation here. Siegfried will not be seen until the next opera in the cycle. For now, the Valkyries (after their famous, musically spectacular ride) are asked to protect Sieglinde, his pregnant mother-to-be, until he can be born. His father is killed in a fight with Hunding, Sieglinde's brutish husband, with Wotan intervening against his will to help the wronged spouse. Wotan has been forced by his wife Fricka, who is the goddess of marriage, elegantly played by Hanna Schwartz. Her victory is a striking display of Wotan's diminishing powers. Brunnhilde, Wotan's daughter and leader of the Valkyries (Gwyneth Jones), disobeys a paternal prohibition, rescues Sieglinde and hides her in safety to wait out her pregnancy. For this, she is punished by losing her divine status and being left asleep for years, surrounded by a circle of magic fire, until a hero (Siegfried, who has not yet been born) will come to rescue her. This episode is extremely well-sung, with particularly notable work by Hoffmann, Altmeyer, Schwartz, Jones and Donald McIntyre as Wotan, while conductor Pierre Boulez and director Patrice Chéreau work smoothly together to define the opera's overall form and continuity. --Joe McLellan
Manufacturer: Deutsche Grammophon
Price Range: $21.52 - $39.98
 Wagner - Die Walkure / Hofmann, Altmeyer, McIntyre, Jones, Salminen, Schwarz, Boulez, Bayreuth Opera (Boulez Ring Cycle Part 2)
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| User Reviews |  | An estimable version of a great opera
rating: 5
This is a well done version of "Die Walkure," perhaps the most compelling of the four "Ring" operas. Patrice Chereau's production is well done. From Hunding's house to the Valkyries' rock, the scenes work. Pierre Boulez does a fine job conducting the Bayreuth Orchestra. And, finally, the cast does its job well. Peter Hofmann (as Siegmund) and Jeannine Altmeyer (as Sieglinde) are credible lovers (and twins) and sing their roles well. Wotan (Donald McIntyre) captures his character well and has the voice to make his part work. Gwyneth Jones is a good Brunnhilde. Matti Salminen provides an appropriately dark characterization of Hunding. Thus, major characters are up to the task of making this a strong version of "Die Walkure."
This is a dark version of the opera, with many of the scenes in shadows and without much light in them. This also fits the tonality of those scenes. Act I is in a dismal place, under dismal circumstances, for example. Hunding is out to "get" Siegmund and the mood is gloomy. However, Act 1, Scene 3 is one of the great moments in all of opera, and the cast, production, and music come together for some unforgettable moments. After giving Hunding, her husband, "knock out drops," Sieglinde and Siegmund confide in one another, sing some ravishing arias, fall in love, and set the stage for the tragic dénouement of "Gotterdammerung" in the future. Hofmann and Altmeyer look credible as lovers; their voices blend well. Siegmund's "Wintersturme" is well sung; Sieglinde's "Du Bist der Lenz" is most affecting. However, the heat really builds from Sieglinde's "Doch nein" until the conclusion. The two sing rapturously, come to realize who they are, who their father is, and what lies ahead of them. Siegmund pulls the sword left by his father (and Sieglinde's father), Nothung ("needful"), from the tree. The scene unfolds most nicely.
Not to prolong this review (read other reviews for scene by scene descriptions), let is take a quick look at two other scenes. Act Three Scene One is the old chestnut, featuring "The Ride of the Valkyries." But the scene is staged well, sung well, the orchestra plays well, and it is high music drama. One sees the Valkyries (fathered by that unfaithful Wotan) bringing dead heroes to their rock. They then note that things do not appear aright. Soon we know why. Brunnhilde has ignored her father, Wotan, and rescued Sieglinde after (it's a long story; read other renderings) Wotan ended up conspiring in his son's death (Siegmund). Brunnhilde understood Wotan's plan to grab the Rheingold and the Ring, and rescued Sieglinde so that her son (who would be Siegfried) could still carry out Wotan's plan. Jones does a fine job expressing herself to her sisters and convincing Wotan that he should moderate her punishment to some degree. Donald McIntyre as Wotan (in his business suit; I'm not sure that the effect works that well) is in good voice.
Then, the final scene, featuring the "Magic Fire Music." Wotan lights a fire around Brunnhilde, puts her in a deep sleep, and commands that only a hero brave enough to go through the fire will win Brunnhilde. McIntyre's lugubrious singing demonstrates his (Wotan's) foreboding of what lies ahead. This is a well sung and good visual scene.
In the final analysis, this is an estimable version of "Die Walkure." Well worth considering as an addition to one's library.
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THE GREAT METAPHOR, PART TWO - DIE WALKURE
rating: 5
The Ring is so great a ception, so formidable a work of art, it is virtually impossible to cast perfectly: Too many characters, demanding of great acting skill, and great singing ability and stamina, certainly. Until very recently all one could do was to listen to and compare recorded performances -- if one couldn't get to Bayreuth -- but now we can actually visualize full productions not only of each of the Operas of The Ring, but of the entirety of the cycle. In this production, Boulez, Chereau and Wagner were fortunate to assemble an exceptionally balanced and skilled cast. This happy casting makes the Sigmund - Seglinda section of the opera, for me, not only plausible, as it never was before, but profoundly touching. Peter Hofmann and Jeanine Altmeyer not only sing beautifully, but they act convincingly, and, when they are close together, even head-to-head in love scenes, one is aware that they even look enough alike -- same height, build, skin and hair color, same skull size and type of facial features -- they actually could be not only brother and sister, but twins, and both equally beautiful. And where else in Grand Opera can one see an heroic lover nearly barechested, and not be somewhat embarassed for him? The effect in this production is electric! The contrast between Sigliinde and her captor/husband is dramatized by Matti Salminen appearance; dark, unsympathetic and powerful, he is so unlike the Volsung twins in appearance and body language, he could almost be another species. Which is to the point: Hunding and his goons (played by stolid, middle-aged types) are Frica's people; law-abiding and prosperous property owners (out of Albericht) and the twins are wild woodland folk, belonging to Wotan.
Salminen's acting and singing, like that of Hofmann and Altmeyer is absolutely terrific. The direction is superbe, and the story leaps off the screen with tragic power. Here, Richard Peduzzi's stage set adds to the dramatic effect by never detracting from the characters with a lot of cro-magnon decors.
DIE WALKURE begins with a hurried, almost frenzied overture, in the manner of operatic Hunt Music, familiar to a lot of 19th cenury operas, but far more intense, giving us the picture of a terrifying, implacable pursuit. And when Siegmund appears it is obvious that it is he who is being pursued. Immediately, the vision of the pageantry of new Valhalla that we first saw in DAS RHINEGOLD is driven from our minds and we are, or seem to be, in a new and perilous world, within the world of the old Germanic Saga. Wagner hit us with the unexpected.
Act Two begins with equally agitated music, but the situation is different. We find ourselves IN Valhalla, Wotan's new home. It's a wild mountaop, traditionally, of course, but Peduzzi in the intellectual and comprehensive view, has stripped all that away. Wotan's grandiose schloss is an enormous, black interior and has three elements: a tall, architectural door, open and showing a mirrored interior of corridors; a hanging pendulum that swings in time to the predominant rhythm of the scene; a tall pier glass; and a english-style club chair that functions as Wotan's throne. Wotan and Brunnhilde enter simultaneously, and her character conception is that of a young Walkure, just finishing her training, and ready to ride. Then, Hanna Schwarz appears as Frica. The scene is played in a very interesting way, and belongs primarily to Schwarz. Wotan is subdued, like an old lion, and Schwarz's Frica is like a lionesse, dominating her not not only with a wifely harrangue, but by rubbing her body against him (growling?) to remind him that now he has a 'Home' he need no longer wander the world engendeing illigitimate beings at random. (Sigmund and Siglende are mentioned specifically, but the Valkyres are implied.) Her ascendency over Wogan is symbolized when, as she badgers him into abandoning Sigmund and Siglende, the pendulum (the Time-Space Continum) is stilled. Furious with himself for having been out-manoeuvered by Fricka, and abandoning those he loves to death, he has a talk with himself in the mirror, and coms up lacking. Brunnhilde is given her marching orders. Sigmund must not survive.
Brunnhilde's attempt to save Siglende after Sigmund is killed is touching and human; and, it's agains her father's orders. She is the expression of Wotan's wishes, his paternal love, and not Fricka's daughter, and therefore is of necessity in oppositin to Fricka's cold-bloodedness. In this production, Gwyneth Jones introduces a new and unexpected aspect of Brunnhilde: aside from her fierce war cry, she plays the role with warmth, sweetness and femenine empathy. Her aproach is charming, naif and virginal, thus enhancing the father-daughter relationship that is at least half of this opera.
ACT THREE, Scene One finds us at the Valkyre rock. It is a striking, even an amazing creation and looks something like a half-ruined old volcanic caldera, but, under different and brighter lights, it displays signs of human work; a doorway, a pillar, steps. It's exactly right, forbidding, whatever it is, and we see that group of terrible armed females dragging corpses back and forth across the stage to savage music. The Valkyres are, after all uncivilized funary Harpies, revealed here, as never before, and without prejudice. The singing is as glorious as it is supposed to be, and the acting and characterizations exceptional, and it all fits into the drama.
Here, Brunnhilde will bring Siglinde and the three pieces of Sigmund's sword Necessity (Notung) and here Wotan will sieze his daughter, upbraid her for disobeying his orders, and deprive her of her immortality. Reluctantly, he will put her into a perpetual sleep, from which she will awake only when a man finds her. She begs her father not to allow her to be taken by just any man, and agrees to this and protects her sleeping body with a wall or ring of eternal fire. The scene is played with such emotional intensity it commands our pity and sympathy.
This most improbable, even fantastic sequence of events is presented here, in DIE WALKURE, with absolute confidence and authority. It is real and believable, thanks to Chereau's direction of the actors, and Boulez' rock-solid and perfect command of the orchestra. The cloud effects are integrated with the lighting of Manfried Voss so carefully and with such taste, that the effects called for by the libretto are those we see in this production, and they are convincing stagecraft, as are all the supportive elements of Wagner's magnificent, imaginative masterwork.
Whatever recordings or DVD productions you subsequenly watch, this excellent production sets the standard by which they will be judged.
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Not merely historical. It is 'the classic' Walkure.
rating: 5
This is part of a centenniary production of Bayreuth of Wagner's masterpiece, the Ring Cycle.
Many say it is the best part, and rightly so. The first Act is simply immaculate - the casting is so fine, the performance so great, that it is really unsurpassable.
The young Salminen, the nearly forgotten Hofmann, and the almost retired Altmeyer together formed a formidable trio as Hunding, and the Walsung twins Siegmund and Sieglinde. All sang and acted in the best imaginable pedigree, plus the fact that Altmeyer and Hofmann really 'looked' like twins! This casting is stunning by itself.
In Act 2 we have the rather deranged-looking Donald McIntyre portrayal as Wotan, the great king of the gods. By this time McIntyre was no longer in his prime, both in terms of looks and vocal strength. Otherwise he would have made a superb Wotan. He acted well, though. His monologue as well taken, singing in front of a bronze mirror.
Ms. Jones was also well-past her prime as Brunnhilde. As a heroic figure, Jones is perhaps a bit on the fragile side. Especially that she is supposed to be a valkyrie and not a human, as Sieglinde.
If Boulez lined up Hofmann and Altmeyer as the Walsungs, at least the valkyries should measure up in terms of physical looks!
Act 3 between Brunnhilde and Siegmund is also highly effective. The direction is superb, and acting could not be bettered, and the singing pure and beautiful. It was reported that the stripping scene before Siegmund's death caused a riot at Bayreuth in 1976. I am not surprised that it did. It still had tremendous dramatic effect even if viewed today.
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Hugely entertaining production
rating: 5
This is a hugely entertaining production. In fact, this is probably the most successful part of the Boulez/Chereau Ring cycle production for the centenary Bayreuth Festival. The vocal cast is the strongest in this opera and everybody acts convincingly. The Valkyries "rock" is an interesting piece of stage design, too. Brilliant!
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Immensely enjoyable
rating: 5
Of the 4 Ring operas, I like Die Walkure most. Happily, this is given a brilliant performance here by the excellent cast and the Bayreuth orchestra led by Boulez. The staging is good and the direction is dramatically apt and interesting. This is as good as production as can be in this opera. I found it immensely enjoyable.
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Wagner - Die Walkure / Hofmann, Altmeyer, McIntyre, Jones, Salminen, Schwarz, Boulez, Bayreuth Opera (Boulez Ring Cycle Part 2)
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