Customer Reviews

Wagner - Das Rheingold / Levine, Morris, Jerusalem, Ludwig, Metropolitan Opera (Levine Ring Cycle Part 1)

5 star:		(12)
4 star:		(2)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

This is a Rheingold done in the romantic style and close as anyone is going to get these days to a truly 'realistic' production. The costumes are beautiful to say the least; and the sets are outstanding, ( though the 1st scene looks a bit odd, it looks as if it was set on the moon instead of the bed of the Rhine) The cast is top-notch, without a weak link anywhere. Truly a must buy!!!

There is more to like...and less to be somewhat
dissatisfied with...in this Metropolitan Opera
Television Production of -Das Rheingold-. In the order
of my preferences, from best to lesser, are the
visual effects, the sets, the music and conducting,
the costumes, and some of the singing. But even
the singing which is less pleasing is only unequal
in certain parts, such as parts of the opening
Rhine scene and with the giants and the gods
in their first encounter. But this was a live

production, and the mircrophones were placed
as a distance, not right in front of the singers,
as they might be in a recorded version. So some
of the singing by Alberich in the first scene
seems not quite loud and forceful enough, but
then he is clamboring over the rocks. The
singing of the giants is also less than a bit
loud enough...and forceful. But then, things
change...and Alberich's singing in Nibelheim
is very good.
The visual effects are very captivating to me...
the mists...clouds...that rise from the blue
watery murkiness of the Rhine up to the god-
haven...as the camera pulls back, there is
a wondrous castle in the background...and Fricka
and Wotan are somewhat "dwarfed" by it as they
recline on a spiral, slanted set -- meant to represent
some sort of gigantic saucer-shaped rock or cliff
top...but which has wondrous similarity to a
textured, rough, rocky spiral galaxy. Then
there is the red mist...cloud...on the descent
into Nibelheim...and the passing shot in the
background of small dwarves at work in their
cave compartments with shining gleams cast off
here and there...the Nibelheim section is the
best part, as far as I am concerned...the
set is wondrous...a circular cave opening in
the back with the red background...it looks
like some eternal eye...or a gigantic worm-hole
into a fated eternity...
Also what should be mentioned is the English
translation of the libretto which can be added
by clicking on the opening bars...the translation
is very tough...elemental...pagan...not poetic
or lyrical. It gives a very real, ominous...compelling...
forceful...underpinning to the visuals and the
German singing going on in the visuals.
The style of the production is of the Wagnerian
Romantic late 1800s style...the costumes have
that "period" look, but the sets are timeless
and elemental, not weirdly modern and anachronistic.
I much prefer the look of this production over the
descriptions given by some of the posters of
the Bayreuth production conducted by Boulez where
the opening Rhine scene, apparently, is set
under the shadow of a hydro-electric dam! And
the Rhine Maidens appear to be "call girls."
The viewer should also consider several levels
of meaning and awareness as he or she watches
this production...and relates the meaning of what
is being said...thoughts about gold, and wealth,
and power, and greed, and revenge...and renouncing
love in order to gain power. There is definite
social...and psychological critique going on here.
Alberich's critique of the pleasure lives of the
gods sounds as if it might be from the lips of
a Platonist contemplating the fate of the Atlanteans...
or of a 19th century socialist...or of a transcendental
critic/rebuker like Thoreau. The giants' warnings
to Wotan about the sacredness of contracts and
the bond of one's word, sound like thoughts to think
about in relation to government and governing...
and law...their talk of how Wotan used the pledge-
power of his spear to wield their compliance, sounds
like something out of Thomas Hobbes, and the whole
idea of the social contract. The more one watches
and listens...and lets several levels of possible
meaning come together, the richer and more
powerful and gripping the genius of bringing
so much myth/psychology/and inspired alienation
and passion together in a work of art, and drama,
and music becomes...
If you think an opera can't be overwhelming
and stun you...watch the giant Fafner kill the
other giant Fasolt...and watch the stunned,
horrified looks on the gods' faces...and Wotan's
shocked, chastened, brooding look as he realizes
what is happening as a result of the ring's curse.
The scene is powerful...and gripping...
and moving in a profoundly deep and elemental
way... you are truly "within the spell" of
the cycle to come...and its relentless
unfolding possibilties...moving ever slowly
but enigmatically...and sadly... toward fatal
fated conclusion...

First and foremost...Jerusalem's Loge is the best out there. The part is perfect for him. He does very well in the Met's Siegfried as Siegfried, but it's a bit too heavy of a role for him at times (which is understandable of course...what a role!). Loge suits him pefectly in manner and signing.

As for the rest, Morris is an excellent Wotan has all the command usually exhibited by great Wotans. H does a wonderful job. I was also impressed by whoever sang Fasolt, he just gave an extremely sturdy peformance. Great tone and a very reasonable Riese (giant).

The first scene (Rhine Maiden's scene) was a bit awkward but to be honest, I've yet to see a production of that scene that I actually did like. Maybe it's just an awkward scene in general. Anyway, the next scene more than makes up for that as the stage becomes littered with talent and most of the characters of the opera show up.

The third scene down in Nibelheim is almost as good as the second scene except that I would've have liked to see more out of the other Nieblungs (besides Alberich and Mime) to give more of a sense of dread of Alberich's rule.

I'm not a huge fan of the fourth scene in general (I guess I find it kinda slow) but this is of course in keeping with the rest of the production an extremely admirable scene. Espescially in the staging of Froh's rainbow bridge. It is a fairly amaizing special effect for the opera stage.

To sum it all up, this production is certainly worth what you'll pay for it. Levine's direction and the cast are almost impeccable so the distraction are minimized about as far as they could be. You'll certaily enjoy the Ring at the Met.

First of all,let me put it out flat in a simple question:Do you want to watch a performance of DAS RHEINGOLD and of the whole tetralogy DER RING DES NIBELUNGEN which adheres quite verbatim
as much as it is possible to do so to what the author/composer
wrote? If the answer is no,you'll do well with the alternative
video versions by Patrice Chereau,Harry Kupfer and Nikolaus Lehnhoff,also in the market.I'm not even gonna mention the newest Stuttgart one under Zagrosek because it really deserves no attention.You can read my full review of that poorly bleak interpretation of the cycle,perhaps written by a bunch of prankster kids in adults'clothings.That is definitely not what
Wagner wanted.This MET cycle is not laid out in a naturalistic fashion...It is simply produced THE WAY THE COMPOSER WANTED IT
PRODUCED...An that is more than good enough for me.
Excellent singing by James Morris's Wotan paired up with veteran
Christa Ludwig,one of the finest singers of the past century.
A grouchy Alberich by Ekkehard Wlaschiha(who has made the role one of his specialties)and a great Mime brought about by viennese character tenor Hans Zednik.
How much more into place falls the voice of bass Jan-Hendrik Rootering here as Fasolt compared to that shameful shot taken at
Wotan in the Stuttgart cycle!(And I said I wasn't gonna talk about it...Sometimes anger management is a real need!)We also have an illustrious Fafner by finnish bass Matti Salminen,who will return as one of the most diabolical Hagens I've ever seen
in GOTTERDAMMERUNG.
Jerusalem's Loge is a real treat indeed.This fine Oberhausen-born german tenor who started his career as a bassoonist and later on as a baritone,finally becoming a full tenor portrays the trickster god with a natural approach which will also be repeated in his both Siegfrieds.We can't obviously compare with
the "ancient generation",but what a luxury this great artist,who has already retired was! Wish we had a Jerusalem or a Peter Hofmann(another victim of that lousy Parkinson disease!)nowadays!
Recap:Otto Schenk's stage production is the ONLY TRUE ONE to the musician's intentions.If you want to know exactly what he wanted to convey,well this is the ticket, and no other,I repeat
NO OTHER video nor DVD will give you this.
Need I talk about the MET's orchestra under Levine? Just draw your own conclusions...
RATE:EXCELLENT-Compared to this one,no other video version exists,believe you me-I kid you not.
There's also an excellent digital transfer to DVD to be acknowledged upon which I'm basing this humble opinion,although I also own the videotapes.
Buy it without even stopping to think twice!

This is one of a four-part set of the Ring Cycle done at the Met. It is beautifully done with the costumes, scenery, music and voices all doing great credit to the score. This Ring cycle was the first opera I ever liked, and led me into enjoying opera.

James Morris is generally accepted as the best Wotan in the world today. I had the pleasure of seeing his San Francisco Opera performance 4 times in 1999. This production is very enjoyable. You can count on The Met for a great performance.

It is gratifying and most helpful that a prominent Jewish conductor has presided over one of the best interpretations of the Ring I have ever seen.

Helpful, because on the heels of Jean Shinoda Bolen's Jungian interpretation of the Ring mythology, Levine has helped all Wagner fans move further away from the Nazi stereotype that has always dogged the operas. For too long, the Wagner fan has been seen as a caricature Lone Nutter, who listens to Wagner at full blast while easing back into his armchair with a copy of Mein Kampf and a stein of lager, with a huge swastika draped across the wall in front of him.

Levine and other Jewish Wagner fans have been able to, as Dimitri Drobatschewsky put it, separate art from the artist. It's not as if Wagner was alone in his anti-semitism, anyway. It was primarily Hitler's adoption of Wagner for his own ends that created the Evil Composer tag.

The Rheingold sets the standard for the rest of the Cycle, this being the prelude to the trilogy. Levine is both inspired and inspiring and delivers at every level throughout. Morris is an impressive, if at times, a little under powered Wotan, his passing resemblance to Barry Gibb of the Bee Gees notwithstanding. Behrens consistently proves why she has long been considered the ultimate Brunnhilde. The only visual blip being that, through no fault of her own, she is rather too close in age to Morris to be a credible daughter.

The sets are generally adequate, and at times, excellent, although other productions have slaughtered this version, especially in the Rheingold - the controversial, yet visionary 1983 Bayreuth production (The English Ring) above all. In the Bayreuth '83 Ring (which also featured the superb Behrens), the Rhinemaidens were sylph-like and naked against a stunningly original backdrop, which gave the production a pagan and elemental flavour that is somewhat lacking in the Levine version.

However, this remains a top notch production and one of the few versions to be currently available. At the prices Amazon are offering, you simply can't go wrong. Having just received my copy of Gotterdammerung, I now have the entire Ring and I certainly take my hat off to James Levine and his superb cast and crew. Get it while you can, people. These things have a way of becoming unavailable rather quickly.

I had this on VHS and decided one day to show it to my 5 year-old daughter. She likes princesses and fantasy and what-not and I was wondering what she would make of Alberich and the Rhein Maidens. Well, she LOVED them -- and this video became an instant hit. So much so that we recently forked over considerable dough and purchased the full DVD Wagner set.

As to the criticism of the costuming, I can only say that I always liked it and that my princess-daughter thought it was 'just right'. [Princesses' do know these things - lol.]

Five Stars. Lovely production. Great sound quality. Some of Wagner's best stuff. Das Rheingold also features a story line and music that children like.

Notes for Parents: Opera is loaded with innuendo, violence, and other non-child friendly material. Das Rheingold by opera standards is pretty tame, having only a little "V".

THE GOOD

--Traditional mythological staging.
--Pristine sound, if at times a little unevenly balanced.
--Clear visually. Well directed for TV.
--Matti Salminen and Jan-Hendrik Rootering are excellent as Fafner and Fasolt, respectively.
--Birgitta Svenden sings Erda beautifully.
--Alan Held and Mark Baker are great as Donner and Froh. Held's "He da! He da! He do!" is stupendous.
--Decent Rheinmaidens despite their less-than-flattering costumes.

THE BAD

--Two principal roles (Wotan and Brunnhilde) are sung into the ground. By the end of the long duet between them in "Die Walkure" I was shellshocked. Godawful!
--Christa Ludwig is not at the height of her powers here. Her singing is mediocre and her acting is even worse. It was hard to keep a straight face watching her. As soon as she appeared and started singing, the production went down a notch for me. However, she improves considerably in the the next installment of this Levine Ring Cycle.
--Although other reviewers sing the praises of Siegfried Jerusalem as Loge, I have to disagree. I'm a fan of Mr. Jerusalem's Lohengrin (for Abbado), but in my opinion he's horribly miscast as Loge. Loge is a wily, sparkish spirit of fire. The music Wagner wrote for him is light and Ariel-like. By contrast, Jerusalem's voice and whole demeanor is earthen, heavy, and verges on the leaden. He plods and treads rather than flies. I much prefer Heinz Zednik's Loge in Boulez's Ring cycle.
--I'm not a fan of James Levine's Wagner in genral. In this case, he conducts like someone who thinks his audience will get bored if he doesn't hurry up. He's often too bubbly and effervescent. However, sometimes he rises to the occasion, such as when Alberich calls his slaves, who bring up the gold so it can be paid as ransom to Wotan.

In sum, this production is a mixed bag, with several weak links in the cast. Although I like the fact that this is a traditional staging, I recommend Boulez's "Das Rheingold" over this one. The best thing about Levine's Ring Cycle is Jesse Norman, who doesn't appear till the second installment ("Das Walkure"), so really I see no reason to recommend this "Rheingold" at all, especially when there are better ones out there (for instance, the "Rheingold" in Haenchen's Amsterdam Cycle is spectacular).

This is the best production of Das Rheingold. The newest version is much too modern. We saw both, and purchased this one to keep. j