United Kingdom Wagner, Das Rheingold: Soloists, Orchestra of Regents Opera / Benjamin Woodward (conductor). Grand Temple, Freemasons Hall, London, 13.11.2022. (JPr)
Production:
Director – Caroline Staunton
Music director – Ben Woodward
Studienleiter – Paul Plummer
Cast:
Woglinde – Jillian Finnamore
Wellgunde – Justine Viani
Flosshilde – Mae Heydorn
Alberich – Oliver Gibbs
Wotan – Keel Watson
Fricka – Ingeborg Novrup Børch
Loge – James Schouten
Donner – Andrew Mayor
Freia – Charlotte Richardson
Froh – Calvin Lee
Mime – Holden Madagame
Fasolt – Henry Grant Kerswell
Fafner – Craig Lemont Walters
Erda – Mae Heydorn
Ever since I first noticed them of their authentic residence at Fulham’s St John’s Church, Fulham Opera (now reincarnated as Regents Opera) have tended to punch above their weight. Having already achieved a Ring cycle there between 2011 and 2014 – albeit solely accompanied by piano and some devices – they’re able to problem London’s two main opera firms by staging a brand new cycle between now and 2024. Barrie Kosky’s new Ring at Covent Garden will start with Das Rheingold in September 2023 however the rival Richard Jones one by English National Opera is more likely to fall on the subsequent fence due to all their present monetary woes after simply Die Walküre and the forthcoming Das Rheingold. (This may come as a blessed aid to the co-producing Metropolitan Opera, however that’s one other story!)
‘Punch above their weight’ is what Regents Opera proceed to do – a minimum of musically – with this Das Rheingold. For me, the solid and the orchestra of 19 (taking part in Ben Woodward’s good new association) surpass the Wagnerian soundworld I typically get from Longborough Festival Opera with their infinitely higher sources. As regular it’s not possible to know the place this Ring is headed from simply this Rheingold. I used to be at all times going to refer readers to a current Berlin overview (click on right here) of this ‘preliminary evening’ to the Ring in a manufacturing by Dimitri Tcherniakov earlier than realising that Regents Opera’s director, Caroline Staunton, was his assistant there. (I additionally solely learn her programme essay trying to clarify the Konzept for her Ring on the best way residence, although fortunately I had labored that out, such because it at present is.)
Kudos to Regents Opera for presenting this Das Rheingold in between the viewers filling the Grand Temple of London’s Freemasons Hall which is as imposing a venue as, I believe, they’ve ever carried out in. There is a raised rectangular platform and on it have been a number of pedestals with modest – and eclectic – artworks on most of them (was {that a} small Snoopy I noticed within the distance?). My first ideas have been a museum because the Rhinemaidens roamed round analyzing them earlier than Alberich emerged from a trough within the centre of the performing house (which might be lined and uncovered as required). The blue lighting prompt the Rhine and so started the issues with this staging, as there was no actual house for Alberich’s pursuit of the Rhinemaidens and so they simply wandered spherical and spherical.
Staunton is clearly as disciple of Tcherniakov however whereas his Rhinemaidens are laboratory assistants with clipboards in the beginning, Staunton’s simply look, nicely, like Rhinemaidens of their vibrant flouncy robes. So it continues: we may be seeing three flooring (River Rhine, mountaintop and Nibelheim) of a gallery – because the objet d’artwork are swopped about, although the characters inhabiting them look as they may do in any Rheingold, with recognisable costumes and simply differing make-up, face paint or tribal markings. Just like Berlin, because the opera proceeds, other than these costumes there may be little or no else that Wagner may recognise other than a hoop. Its energy seems to be an phantasm as are the remainder of the magical occasions we see. Tcherniakov has no ‘real’ gold or Tarnhelm, and neither does Staunton though Freia will finally be swathed in gold foil in an try to cover her. Staunton gives a small podium (apparently based mostly on the Fourth plinth in Trafalgar Square) the place we get some efficiency artwork. Notably this includes a bare-chested Alberich – Oliver Gibbs and never a fairly sight, sorry! – having smeared himself with gold physique make-up miming placing one thing on his head and turning right into a dragon after which a frog. Oddly – but in a very efficient scene – Erda in white approached by means of the orchestra just like the Ghost of Christmas Past and one ought to marvel what this needed to do with anything we noticed, however I repeat, it’s most likely a lot too early to fret about this. Elsewhere, we do see one in every of Freia’s apples as a silver – although not gold – object, Donner places down a hammer on one of many pedestals (though it appears to be like like a deal with had been put right into a stable piece of tiramisu) and there’s a spear there all through the opera which Wotan touches as soon as (solely because the final notes of Rheingold die away).
The taking part in by the orchestra is virtuosic and Woodward carried out a fluid, pacey, vibrant account of the rating with an instinctive really feel for its dramatic construction. The novel answer to the anvils for the Descent and Ascent from Nibelheim are nearly value your ticket cash alone and sound significantly better than heard in (even) extra prestigious venues. I had solely minor quibbles about a number of the solid – some singing their roles for the primary time – although personally, I’d have wished Regents Opera to have given British singers extra alternatives; however the Rheingold ensemble is very sturdy. The at all times dependable Keel Watson is a commanding Wotan and offers a considerate portrayal of a god who thinks he has every little thing underneath his management, while unwittingly sowing the seeds of his personal destruction. Oliver Gibbs surpasses anything I’ve heard him sing with a fearsomely aggressive and feeling exhausting completed by Alberich.
I additionally significantly preferred James Schouten’s well-sung Loge, who was the grasp manipulator this character should be, together with his Byronic hair there was greater than a suggestion of glam rock about him. Also impressing have been Ingeborg Novrup Børch together with her enticing mezzo voice because the reproachful, possessive Fricka, Henry Grant Kerswell was the lumbering lovelorn Fasolt (suppose Lennie in Of Mice and Men), and Charlotte Richardson sang Freia with a splendidly recent sound. One of the most effective singers for me was Mae Heydorn who was Flosshilde and in addition Erda when she eerily intoned her prophecy of the gods’ eventual doom with darkish, sonorous tones. The voices of the Rhinemaidens (Jillian Finnamore, Justine Viani and Mae Heydorn) blended nicely and Holden Madagame’s Mime, in addition to Andrew Mayor’s Donner have been strongly sung. Craig Lemont Walters didn’t make an excellent impression as Fafner on this event and Calvin Lee – whose in depth biography suggests he’s a personality tenor – sounded as if he was auditioning for Siegfried.
I at all times suggest Regents Opera performances and please see both of the 2 remaining performances (on 17 and 19 November) and the next Ring operas and see the way it all works out ultimately.
Jim Pritchard