Customer Reviews

Wagner: Das Rheingold [Blu-ray]

5 star:		(5)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

It is difficult not to sound hyperbolic about this Rheingold. So let us try to remain in terra firma. This performance from Sergio Calatrava's stunning new Palau de les Arts Reina Sofía in Valencia, Spain is first and foremost solidly grounded on Wagner's music and text. Zubin Mehta excels. The music propels the story, comments on it and builds to a monumental Entrance into Valhalla. The orchestra, like in Bayreuth, was handpicked for the tetralogy, mostly in Spain but throughout the world (Mehta says in an interview that Lorin Maazel did the recruiting.... and recruiting for a "Wagner" orchestra, on the theory that an orchestra musican that excels in Wagner can play anything else). The singers are mostly young but excellent Wagnerians with a sprinkling of prized veterans like Matti Salminen as Fasolt. The Wotan is new to me, Juha Uusitalo, powerful and eloquent, a real find. If there is another "star" part in this most ensemble of ensemble operas is Loge, here the subtle, ironic, wily, John Daszak, almost always weaving his way around the stage in his standing moto, a lyrical, musical, dramatic presence with a voice the timbre of which reminded me of the late great Gerhard Stolze without the mannerisms. Ana Larsson whom we've heard in much Mahler is a witty, self-serving Fricka; Alberich and Mime are properly nasty and well sung by Franz Joseph Kappelman and Gerhard Siegel respectively. Christa Mayer warns effectively as Erda, and the great, beautiful singing which comes as the clouds break and the rainbow bridge appears is by Illya Bannik and Germán Villar as Donner and Froh. Not only are they all excellent musicians and vocalists, but they are superb actors so one is always engrossed in the interactions between the characters.

The production by the fabulous Catalan group La Fura dels Baus, Carlus Padrissa stage director, is breathtaking. It is symbolic but without imposing an interpretation on Wagner's work other than what Wagner is trying to convey through text and music. It is unlike any operatic production one has ever seen. It uses gymnasts, projections, videos, lights, seemingly every device a modern stage can muster to illustrate the opera. It is never less than riveting. No stage picture is superfluous as it all adumbrates the work. When there is so much imagination, intellect and understanding in evidence it is the mark of great artistry that it is always kept disciplined, always serving the purpose of the work. This is for me the most exciting and revealing production of Wagner since the Chereau Ring at Bayreuth. But it goes one better, as it does not impose a specific ideological or epochal garb on the work. It is spectacular and dazzling but chaste: it is timeless and true only to Wagner.

Of this Ring cycle I have now seen this and Walküre (which I saw in a movie theatre). I am waiting for Amazon to deliver the latter. Siegfried and Götterdammerung are out I believe next month. The blu-ray sound and images are stunning. If the last two dvd's are like the first two, this will be the preferred version of the Ring to acquire, bar none.

I had read reviews on this production and viewed several previews before purchasing. I am new to Wagner which may discredit my opinion, or make my opinion more valid being that I come with no expectations. All I know is that Wagner's music is unworldly and the story of the ring is enchanting. I was wanting a depiction that could match the glorious story without forcing bizzare "artistic" elements on the viewer, but yet was modern and entertaining. Let's face it...when it comes down to it, when you watch opera it should be about three things...the music, acting and staging. The online previews are a bit misleading. They of course show all of the most incredible visual scenes of the production in a compact 2 min. and if you are like me, you watched these on a computer screen and thought...WOW!!! how much more amazing will this be in Blu-Ray on my new HD TV??? In truth, those scenes translate very well and the picture quality is beautiful, but this comes with a price. The blu-ray definition is very crisp as would be expected. The high-def screen behind the actors portrays some beautiful imagery. But is the blu-ray too crisp for opera? Do I really want to see every bit of crusted-on makeup and endless beads of sweat pouring from the actors brow?

Wagner is sometimes very drawn out in my opinion, so the opera needs great drama and outstanding acting abilities from the cast to continually draw the viewer in. The singing needs to match the drama and the text needs to be brought out by the actor through facial expression, movement, inflection, etc. Everyone loves a great background set and intricate costumes, but all of this means nothing without the singing and acting. The Valencia production has placed their actors in what comes across as some very uncomfortable costumes and stage props. You can feel the actors' lack of confidence at so many different points throughout. The look on their face is not totaly convincing and everything feels clunky like the actors needed about 2 more months of practice in their crane lifts and robotic-like costumes. The opening scene with the Rheinmaidens is so interesting visually and conceptually, but then enters Alberich. I imagined him being able to scurry about wildly trying to catch these crazy water ladies that dart too and fro out of his grasp, but everyone is so confined in their space that the whole feel is lost. Alberich looks awkward tyring to find his place on the stage and has no idea how make the whole scene look convincing. Same with Wotan in his crane. There is a look on his face throughout like "woah, woah, here we go again, up in the air. Is my singing really matching my movement? I feel confined. I wish I could move about, but if I do I will fall off this crane thingy and die. I hope this expensive production company knows what it's doing." There are so many more instances throughout that I could expand upon.
A little about the singing. It is good. That is all I can say. If you want to see what I mean, watch the Valencia/Mheta version and then go back several years in time and watch the Boulez version on DVD. The vocals are on a different level...not really on the same planet. The acting matches the dramatic story line to a tee. The sets and props are not distracting and do not confine the actors abilities. The Rheinmaidens DO dart about and Alberich DOES leap too and fro trying to catch the maidens. It is EXCITING and like I first mentioned, gets to the heart of what opera should be about....the music, acting and staging. I think future versions will find a way to use modern techniques and staging while not sacrificing the main elements. This was a great try, but no cigar. Serious---watch Valencia then watch Bayreuth. You'll see what I'm talking about.

It is around 50 years since the release of the Decca/Solti Rheingold recording. At the time any Wagner Ring issue was a major event; now there are a multitude of performances available in sound and video formats. Although I cannot claim to have sampled them all, I have seen and heard most of the well regarded versions. I would like to make the bold claim that this Valencia issue is the finest of those that I have encountered. Given the visual importance of opera, DVDs would now reign supreme.

On paper the portents are not encouraging. The vocal cast, apart from Anna Larsson and Matti Salminen, are little known in the general operatic firmament. The orchestra and opera company are new to the scene and Zubin Mehta has only a slight profile as a Wagner conductor. I had previously never heard of La Fura dels Baus, the producer. Fear not, the singing is uniformly of a very high standard and the orchestra from the stunningly designed opera house in Valencia (by Calatrava)is top notch. My greatest surprize and joy was Mehta's orchestral direction; he expertly maintains the flow of the music and brings out the varying dramatic and lyrical aspects of Wagner's music. I have not heard better conducting in this work.

I thought the stage production terrific, although it's business (particularly with the often changing back projections) might distract and annoy some viewers. I found it highly imaginative, interesting, colourful and engaging. The journey into the earth is particularly well handled as is the factory like scene with Mime, Alberich, Loge and Wotan. The final scene is also amazing. Finally the sound is warm, clear and detailed and the filming is faultless. I have a similar enthusiasm for the Valencia "Die Walkure"; if Siegfried and Gotterdammerung are on the same level of excellence, this will certainly be a Ring cycle to savour. Bravo.

This is a highly imaginative production of which Wagner would be proud. It uses technology in this fantasy in a highly effective way to emphasise the otherwise surreal plot in a spellbinding manner. The opening scene with the Rhinemaidens actually frolicking in water on stage inbetween their glorious singing sets the scene for this brilliant production. It would be easy to denigrate the props used if they were not so effective.

Five of us sat down to this opera last night and we were all transfixed. Even my wife, who is generally unmoved by opera and avoids it if possible, found herself immersed in this 2007 Valencia performance. The only minor negative expressed by one was that the oft changing projected background was a little overdone at times. But the symbolism of the gold, the transformer type locomotion of the giants and the effects generally were excellent. Kapellmann's projection of Alberich was not one of a creature to be despised but rather of someone who was deprived of everything - love, power, wealth, so one actually felt sorry for him!!

Combine the superb singing from a very strong cast with the excellent orchestral playing conducted by Zubin Mehta and you have a performance of Das Rheingold which it would be hard to surpass. Audio & video are similarly technically top notch. A MUST for the library of every Wagner lover. And yes, I have the other 3 Ring operas in this series and we will all be looking at them in the coming months.

I wouldn't recommend this as a first Rheingold, nor a second, nor a third. This is for people who have seen a number of more traditional Rheingolds over the years and yearn for something new.

Positives are the rhine maidens doing underwater aquatics in the first act. Quite visual and sexy. Not bad singing either. Also, stunning graphics projected on the rear screen giving a very sci-fi futuristic feeling to the backgrounds.

Placing principals in giant robots is more problematic. Gives visual interest to what otherwise might be static scenes, but hampers action. Principals do not move at all, just stage hands moving the robots. The giants cannot grab hold of Freia except in a very clumsy way. When Fafner kills Fasolt it is done with a crude bump from one robot to another. Not very convincing. When Alberich "changes" into a dragon or a frog, there is no attempt to make it appear as though it is actually happening on stage. When Alberich is captured, tied up, then later released, it really doesn't happen at all. He just stands there, unfettered, singing about being captured.

The orchestra under Zubin Mehta creates glorious sound, but in a rather stilted way, slowing down for robot action, stopping to await the raising or lowering of a platform.

The best part of the disc, really, is the travelogue of Valencia and the magnificent, futuristic Palau de les Arts Reina Sofia. It was a delight to watch the free, outside venue where thousands of spectators observe La Fura dels Baus's street-theatre-trained actor-acrobats providing props and background for the action.

I own multiple versions of the Ring on cd(Solti) and video(Met, Bayreuth, Copenhagen, part of Chereau's) and must say that I was captivated by the first viewing of this performance. The orchestra, the singers, and the use of 21st century technology is a powerful combination. I have not viewed the other 3 discs from this cycle and can't wait to do so. I agree completely with the first reviewer that this is a "sleeper" Ring that is right up there with the best because of the high level of performance. Absolutely get this in bluray if you can and crank up the volume. I was at the Met for opening night of the new Ring and must say that this performance from Valencia certainly gives that a "run for its money" I believe this should be bought for multiple viewings and don't believe you have to be a "ringnut" to enjoy it more than once. Of course, the Solti cycle is the goldstandard but we're in the 21st century and this is video with surround sound.

This is a Ring for the 21st century. If Wagner was here today he would probably want to tweak it here and there but would almost certainly approve of this inspired production. Anyone who loves the Ring owes it to themselves to see this series. It is like no other Ring you will have ever seen. Why therefore have I not given it full marks. Well mostly the orchestra. Despite Maestro Mehta's assurance in the short, and frankly not very good, "making of" doco that he is a true Wagner conductor, one only has to listen to Barenboim or Boulez or the old Solti CD to realise he is not quite there yet. The speeds are ponderous and the playing does not quite capture the full excitemnt of Wagner's masterwork. The singers unusually out shout the orchestra and are very clear but I was frankly a bit disappointed with the playing. I suppose one cannot expect much better from an orchestra that does not play regularly together and without a true Wagner conductor. Good - but just not quite a match for the extraordinary and inspired production. For once all the cast looked their parts: Sexy Rhein maidens, an imposing Wotan and Alberich and no weak links anywhere. I loved the costumes and quickly got used to the cranes. The giants were just magnificent with wonderful facial expresions and superb singing.

I did not care for one or two special effects, particularly from the Rhein maidens, or the net over Wotan's first entry, or Maestro Mehta's appearance here and there, but for 90%+ the production is brilliant. A little tweaking next time and it might even be perfect! One point to note is that for Blu ray watchers this plays like a movie. One rarely sees the whole stage and special effects appear on screen as selected by the editors. Anyone in the audience would not get this close up edition and would see quite a different perspective. On balance the Blu ray version is very good and probably the best way to view it but I would like to see it from the audience perspective as well one day.

Overall this is a stunning release, which must be seen by any lover of the Ring, just a pity the musical direction and playing was not quite up to the highest mark. If you plan to own just one Ring on disc then this must be it although I shall not chuck out my much loved Boulez and the old Solti and I still like the Dutch release. Highly recommended despite the reservations.

A Ring for the 21st Century? To a certain extent yes.
The Orchestra and the Conducting: One must view it from a different perspective. This is not a 'set' orchestra with its own signature sound or tradition like what you have in practically all the other recorded Ring cycles. It is comprised of a carefully compiled set of players chosen individually for their brilliance. This is where my respect for Maestro Mehta swells quite a bit... not that it has not been done before (almost all 'Festival' orchestras are thus formed), but to have them play the way they ultimately did...now, that is what requires the ultimate perseverance from the conductor himself. Mehta and the Orchestra acquit themselves quite well, given their 'handicap'. To add to it, there is a new Wagner sound too, which though quite different and would be unfair to compare with Bayreuth or Met or any other, is very satisfying indeed. Considering that the recording is of absolute top quality, where the tiniest imperfections would be noted and criticized to the dustbin, these guys have done a great job. Kudos. This would be a 21st century experiment that has largely succeeded.

The Singing: The singers are generally quite young but do a good job. Matti Salminen as Fasolt. Juha Uusitalo as Wotan are both wonderful in both their singing and acting. Of this, Salminen is an old warhorse with proven Wagnarian abilities, but Uusitalo, is a new jewel in the Wagnarian pantheon. John Daszak, as Loge has a rather chequered kind of existence on the stage, a new kind of interpretation of sorts - sometimes looking comic, which is not exactly the kind of Loge I have seen so far, or had in my mind. Ana Larsson as Fricka is suited to the role; Alberich and Mime sung by Franz Joseph Kappelman and Gerhard Siegel are not the stereo typed characters, especially Albrich. Although one does not get to sympathize with them (thank god), it looks as though their point of view is well put forward through 'their' eyes. Christa Mayer as Erda, and the rest of the singers blend in very well into the scheme of things that the producers had designed and deigned for them. Acting is of top quality, although I felt at times that some of the singers were not quite 'at home' with the kind of clothing or the robotics that they had to content with.

The Staging and the rest: This production flits between a true 21st century and a C grade Hollywood 20th century production. The backgrounds and projections are of top class, and am sure other opera houses could think in terms of emulating or bettering these. For starters, they are just great. The costumes are good, especially for the main characters. I thank god that the producers did not think in terms of coat tails or for that matter, Jetson's type futuristic clothing. The performers from La Fura Dels Baus have done a great job.

So why one star less? I just hated the robotics of the cranes with technicians or what have you pushing the characters around the stage. Although the poor chaps tried to blend in as well as they could, they were a total distraction, something like unwanted characters in a play. The whole could have been far more sensible and better, if they had relied on the 19th or 20th century technology of floating these people in enclosures in and around the stage supported with cables, rather than being pushed around like kids on perambulators. It looked sooooo clumsy. This is definitely not 21st century. Looks like a 19th century experiment gone bad.
The Giants on stage looked impressive when they were about to enter, but the whole mechanics of their moving their feet and hands made them look more like rag-dolls. If they could have had their torsos covered at least, the hydraulics of their pumping the hands and such other awkward movements could have been hidden. But no. In the end when Fasolt is killed, it is funny the way the whole contraption is hauled backstage. Loge looked like a clown on that contraption that he rides around (Segway?) like a school-kid with a new toy.
These imperfections rob this whole production of the factor that makes it 'Good' but not 'Great'.It also destroys any chance of the viewer wanting to watch this repeatedly. For that, I would still go back to the Met.

The Ring is such a massive undertaking, there are always compromises and stumbles no matter who attempts to stage it. When I heard Zubin Mehta had mounted a cycle with a very young orchestra and a totally modern staging, I expected the worst. But I read a few reviews and decided to give it a try. I'm very glad I did.

This production scores on every level. The singing is solid across the board from the main roles on down to the lesser gods. The standouts are Juha Uusitalo (Wotan). Matti Salminen (Fasholt), Anna Larsson (Fricka) and the Rheinmaidens... Hanna Esther Minutillo, Ann-Katrin Nuidu and Silvia Vasquez. It's rare to find a Ring with this solid of a cast, especially in recent times. The orchestra (without a single gray haired member that I could see) was responsive and tight. Mehta's direction was a big surprise. He is an accomplished Wagnerian with well judged tempi, nice contrasts and control of the overall architecture of the piece as well as the details. The surround sound does the whole group justice with the most sumptious acoustics I have ever heard outside of the opera house.

Now for the staging... I was prepared to dismiss this modern Cirque du Soliel approach and spend my time with my eyes shut. But this time, the modern conception remains true to Wagner's story, characters and stage directions. It works perfectly. The Rheinmaidens swim (in aquariums) the gods fly through the air by means of cherry pickers and rear projection video and Valhalla is constructed from the bodies of acrobats dangling from wires. It sounds wonky, but in the context it all makes sense. The real breakthrough here is the video projection backdrop. It is jaw droppingly amazing. I've never seen anything like it.

The Ring is best seen first. You don't get the same sense for the drama listening to CDs. I've seen most of the video versions available, and this one is the very best. It's a great way to be introduced to the most monumental work of art created since the pyramids. Don't hesitate. Get the four operas. You'll be glad you did.

This was my first "Das Rheingold", and I found various aspects of the staging very distracting. For example, Loge moves around atop a Segway, which I found very odd (or just crazy?). Things like this kept me from paying close attention to the unfolding story: I only understood the story after watching the traditional Levine Met version (which is very fine). On the other hand, there are certain aspects to this production that I found very appealing, e.g., the use of the human body in it. Summarizing, I would recommend this disc to anyone who is already familiar with the opera, but not to newcomers to it.