| PRODUCT DETAILS | | Der Ring des Nibelungen / John Brocheler, Graham Clark, Chris Merritt, Henk Smit, Reinhild Runkel, Albert Bonnema, Hartmut Haenchen, Het Muziektheater Amsterdam, Opus Arte |  | |
Der Ring des Nibelungen / John Brocheler, Graham Clark, Chris Merritt, Henk Smit, Reinhild Runkel, Albert Bonnema, Hartmut Haenchen, Het Muziektheater Amsterdam, Opus Arte
This stunning production of The Ring from Het Muziektheater Amsterdam blends the lyrical, mythical and philosophical qualities of Wagner's work into a profound unity.
Pierre Audi's stage direction is inspired and amazing sets by George Tsypin and wonderful costumes by Oscar-winning Eiko Ishioka complement singing and playing of great intensity from the cast and the Netherlands Philharmonic Orchestra under Hartmut Haenchen's visionary musical direction.
This is a Ring to remember.
This is an 11-DVD set
Manufacturer: KULTUR VIDEO
Price: $58.00
 Der Ring des Nibelungen / John Brocheler, Graham Clark, Chris Merritt, Henk Smit, Reinhild Runkel, Albert Bonnema, Hartmut Haenchen, Het Muziektheater Amsterdam, Opus Arte
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| User Reviews |  | Not Radical but with Enough Novelty to Thrill (or Infuriate)
rating: 5
In evaluating this Ring cycle I am using the Barenboim/Bayreuth, Boulez/Bayreuth, and Levine/New York cycles as references. (I have also seen the Walkure from the Stuttgart cycle, but that one falls into an entirely different genre, closer to parody/comedy.) Turning to the Amsterdam cycle:
Visual/Lighting -- The Amsterdam cycle is consistently well lit with bright, primary colors usually in agreement with what the text suggests. I found that to be highly enjoyable and a refreshing change from the dismal, everyone put on Nilsson's mining helmet, lighting of the Barenboim Bayreuth cycle.
Visual/Sets -- The most distinctive feature of the Amsterdam cycle is the staging. Overall, the stage looks smaller than the Met and certainly shallower than Bayreuth; what's unique is that the main stage is extended out and circles the orchestra with a narrow walkway. That has two consequences: 1. the orchestra is in view for all full stage scenes (only disappearing for close ups of the singers) and 2. action as well as entrances can be spread with some singers behind the orchestra and others in front. This unique staging sometimes leads to vocal imbalances, and some may object to the presence of the orchestra. I thought it was a stroke of genius and made the orchestra a visual as well as vocal partner to the events on stage. In addition, some of the scenes have multi-layered platforms canted or suspended over the main stage. As for the settings, there is no obvious time period, sort of like Barenboim rather than Boulez's industrial revolution cycle or Levine's more realistic Norse mythology.
Visual/Costumes -- Costumes are generally colorful (again, not the pervasive darkness of the Barenboim Bayreuth cycle -- the reason I pick on that cycle is because it is so well cast but sabotaged by the sets and costumes) and are somewhat out of time (that is, flowing robes and gowns that could be mythological but could also fit with some contemporary fashion; an exception being Gutrune who in some scenes is dressed like she stepped out of a Jane Austin novel). The robes of the gods in Rheingold miss the mark, looking cumbersome and inelegant. While I'm on a roll, the costumes for the poor Rhinemaidens are hideous (writhing about the stage in tight body suits -- the anguish is probably real).
Acting -- As is often the case in Ring cycles, the "bad guys" are the more entertaining and convincing actors -- Alberich, Mime, Hagen. (But as Milton observed, Satan was more interesting than the angelic hosts, so...). But the "good guys and gals" also throw themselves into their parts with general enthusiasm -- Fricka (on second thought, maybe a "bad girl"), Wotan (in Walkure and Siegfried, but very uncomfortable and stilted in Rheingold), and the incestuous pair (S & S) deserve special mention. Brunnhilde is also energetic (as are her peers in the competing cycles -- Evans, Behrens, and most of all Jones).
Singing/Conducting -- For an audio recording, of course, this is the only category of importance. Fortunately, a well-staged and interesting visual production can compensate (or distract) from a less than ideal singing/playing combination. Such is the case here. First, the orchestra's contribution is definitely a plus; however, compared to some of the first class audio recordings from Bayreuth, Vienna, or New York, the Amsterdam cycle's players are not always in the same league when it comes to thrust and execution; it's the difference between top notch and very good. When it comes to the vocal end, the singers as a whole are also not at the same level as those found in the better audio recordings (be it live ones such as Keilberth, Knappertsbusch, Bohm or studio ones such as Solti or Janowski). Speaking of Janowski leads me to the Brunnhilde, Jeannine Altmeyer -- who assumed the role in Janowski's audio recording made in the early 1980s. Not surprisingly, the years have taken a toll. She still manages to do a decent job overall but clearly she's not the woman she was twenty-five years earlier (who is?). I thought she was splendid in Walkure but below par in both Siegfried and Gotterdammerung. Compared to those in the other cycles noted above, I would put her overall performance (acting and singing) behind her competitors (Evans, Jones, Behrens) but not by all that much. (The makeup crew should be shot; obviously Altmeyer is no longer a spring chicken, but the makeup used actually accentuates her age, making her appear like a middle aged Goth.)
Siegfried has the physique of Melchior but, alas, not the vocal splendor; he gets through the part but I would rate him below Jerusalem with Barenboim yet above Jerusalem with Levine. He's competent in the manner of Boulez's Jung. Sieglinde and Siegmund are more than adequate in both the vocal and acting departments.
All in all this is a solid ring cycle with, for me, a unique staging that has been mostly well thought through. As with most Ring cycles (Levine being the exception), the director takes interpretative or creative liberties. Sometimes this works for me (e.g., Siegfried as Gunther at end of Act I in Gotterdammerung and the novel climax to the immolation scene) and sometimes it doesn't (e.g., magic fire scene from Walkure and funeral march from Gott.). At the risk of carping, where the heck is Wotan's spear throughout Walkure? -- the spear is a central symbol so much so that even modern settings of the Ring (such as Boulez) have Wotan wielding a spear. Also, why is Mime part insect but brother Alberich looks pretty (make that ugly)human?
Enough already; despite quibbles here and there, I thoroughly enjoyed this production and view it as a nice complement to Barenboim, Boulez, or Levine. It's sufficiently different in design and cast not to overlap with any of the other three. If I had to pick one, I suppose I would still go with Barenboim, but that sort of decision is simply unpatriotic in our consumer driven society. The Ring lover should have them all.
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Request for a review
rating: 1
I am very tempted to buy this RING production, but am concerned because it is a joint production of Opus Arte and Kulture -- the top and bottom of the opera DVD world. I have long wished that Kultur would go bankrupt and remove their shoddy productions. Now it seems that they have attached themselves to Opus Arte which is arguably the best technically, and in terms of the many extras they give.
If anyone is brave enough to purchase this allegedly great Ring, I would be most grateful for comments on the Technical production.
Thanks.
Archie
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Der Ring des Nibelungen / John Brocheler, Graham Clark, Chris Merritt, Henk Smit, Reinhild Runkel, Albert Bonnema, Hartmut Haenchen, Het Muziektheater Amsterdam, Opus Arte
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