PostHeaderIcon A Night to Remember

A Grand Spectacle! That was Lyric Opera‘s Opening Night. The anticipation of seeing a sublime production is what opera lovers bring to every opening but which few productions satisfy fully. Grand Opera is a very hard goal to attain. It requires the perfect blend of music, singing, staging and story. That’s what I saw and heard last Saturday evening at Richard Wagner‘s “Das Rheingold”.

Eric Owens as Wotan

Wotan (Eric Owens)

This was not one of Lyric’s satisfying but more minimalist stagings. The opening of the first work in Wagner’s Ring cycle seemingly spared no expense. It appears General Director, Anthony Freud, wanted to kick off this Ring cycle (only the third in Lyric’s history) with a bang and build excitement for the remaining operas in the tetralogy. The production looked rich and probably had a budget to match.

Director David Pountney deserves kudos for highlighting the dramatic interplay among the characters which made Wagner’s convoluted story easier to follow. And the Engels/Hopkins sets were a visual knockout. (The sets’ effects benefited from Lyric’s addition over the summer of new stage lifts, a turntable and new point hoists that can lift sets and people aloft.)

Samuel Youn as Alberich

Alberich (Samuel Youn)

There was so much to watch onstage, from the Rhinemaidens’ flying in mid-air, the giant puppets, Fasolt and Fafner, and the evil Alberich’s gold-smelting cave to the hokey conveyer belt transporting the ransom gold to Fasolt that the music sometimes took a back seat; not at the forefront as with less gripping productions. Sir Andrew Davis led the fine Lyric orchestra in perfect harmony and balance with the action onstage.

Last, but certainly not least, were the singers. All the characters in the leading roles, save one, delivered beautiful, full-throated singing. For me, special note should be given to Samuel Youn, making his American debut, in the role of Alberich and Stefan Margita as Loge. My only quibble was with Eric Owens as Wotan, the ruler of the gods. His performance struck me as under-powered in both his singing  (his voice tended to drop lower toward the end of his lines throughout the evening) and range of movement, a distracting fault in striking contrast with the rest of the cast.

The Norns and Erda (Okka von der Damerau)

The Gods entering Valhalla

You should not miss this production. You have five more opportunities to catch it before October 22nd. I can say that this “Rheingold” is the best musical currently on the boards in Chicago, bar none. Take that “Hamilton”. If that is Freud’s plan to lure more young people to the opera, he has succeeded.

For tickets, contact Lyric at 312/827-5600 or go online for performance dates and ticket purchases at www.lyricopera.org.

 

One Response to “A Night to Remember”

  • bill says:

    tom, thanks for the link. nice review.

    remind me to ask you how pountney goes about highlighting the complex plot. and whether you think owen is always underpowered, when it comes to the exagerations of wagner, or maybe was just under the weather, that his volume should so consistently drop at the ends of each line.

    most professional singers and wind instrumentalists can breath in as they blow out, wonder what his problem is!

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