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THE RUSSIANS ARE COMING, THE RUSSIANS ARE COMING!
REVIEW OF THE MARIINSKY KIROV RING PRODUCTION, ORANGE COUNTY, OCTOBER 5-11, 2006
And now for something completely different.
In 1783, Empress Catherine II of Russia issued an imperial decree supporting the arts, including opera. Richard Wagner’s works have been played by the Mariinsky since the 1860’s, with Der Ring des Nibelungen being fully staged over 100 years ago. In 2000, this Opera Company began preparing for a new Ring, which was presented in 2003 in Germany, then Russia. Do many national companies bring their Ring to Germany?? October 2006, Orange County, Los Angeles marked the American premiere of this Ring.
In October, Valhalla Opera Tours was off Orange County to see the Kirov Ring. Our private Wagner expert was Thomas May, author of the book Decoding Wagner: An Invitation to his World of Music Drama (complete with 2 CD’s to illustrate points) and a recently published book on John Adams. Tom came well prepared with pounds of reference books. No question was more than a few minutes away for him. Of special interest was a book featuring the works of Russian stage designer George Tsypin. As Tyspin’s was not a straightforward Ring, our tour spent long hours before and after each opera discussing The Meaning of Life as put forward by Richard Wagner and George Tyspin. As always, our private lengthy discussions and debates about the operas and what they represented added immeasurably to the enjoyment of this Ring.
In Kindergarten, we are taught “how to listen”: sit cross legged, touch no one, hands in your lap, eyes straight ahead with your listening ears open. To enjoy this Ring one more thing must be added: leave all other Rings behind, all preconceptions you have about how a Ring “should” be done, and be prepared to be amazed.
This Ring is truly fantastic, with the emphasis on fantasy. Stage designer George Tyspin, is an architect/sculptor/film designer, and winner of an international award for New and Spontaneous Theatre Ideas. The expected Nordic, Icelandic, Skaldic and Germanic myths were present. The addition of Scythian, Egyptian, Watusi, Asian, Central and South American myths, added exoticism to this Ring. The universality of myth is reinforced when one realizes the similarities of these myths—the god with one eye, separated twins, blood oaths, mermaids. That the mythical characters have flaws only makes it easier for us to identify with them.
Four giant figures, 30 feet tall, roughly human shaped were omnipresent. These beings changed from act to act, opera to opera—at times having human, horse heads or no head, beating hearts, illuminated brains, fossils (depicting the layers of time), and bowing at other times to the characters on stage or to the audience. The changing giants are protectors, witnesses and caretakers and remind us of an old order passing away, with new gods taking their place. The giants also call to mind the Easter Island statues—relics, of an ancient culture, about which little is known. At times, the giants had pegs on them; pegs on which new and different ideas could be added on to the old. Giants put things into perspective.
The other constant figures were four foot tall waxy figures shaped like matryoshka stacking dolls. They were used to represent the masses, to gather the gold in Nibelheim, as babies to the giants, as fallen soldiers, as pillars supporting Valhalla, and other configurations. Their continued presence on stage reminded us that the story we were watching unfolding was only one story, only one part of the picture; and that other stories and factors were happening at the same time—some impinging on our characters, and others not.
Some patrons could not get past these figures, and complained about them at every intermission.
Kirov uses their large repertoire cast well. Their acting was excellent and voices uniformly strong. (with one notable exception) Costumes and sets were fantastic—as in fantasy. I allowed the familiar music wash over me and was in awe as the characters, not necessarily humans, performed the eternal truths as represented by myth. Characters that would not have been out of place in Lion King or Star Trek graced the stage.
In Rheingold, the giants were horizontal, at the top of the stage, and reminded me of the underside of icebergs. The Rhinedaughters frolicked below in the blue, green & purple setting, The gods had long flowing outfits that defied time or place. Wotan looked like Moses Alberich a wore suit reminiscent of a trilobite (which fit in well with the fossil theme).
Erda’s headdress was ancient Russian--six feet wide with five foot fringes. Loge was surrounded by dancers in tights with day-glo red curly spikes for hair/fire. As always, Loge enlightened Wotan. Freia was truly beautiful, like a Disney princess. The Rhinegold was in the shape of a latticed-egg and when Freia was placed in it, the effect was that of a delicate Faberge egg. Our four giants did not portray Fasolt and Fafner. The giant builders 15-foot blobs, were announced with a grand fortissimo by the orchestra. Although their human heads appeared tiny, they, like the rest of the cast, were able to make their emotions clearly known. The anvils in Nibelheim rang and echoed in the hall.
The Entrance of the Gods to Valhalla (Val-halla: hall of the dead) was truly stunning. Set in white and gold, the gods wore Egyptian headdresses as they walked in profile to Valhalla--a pyramid--a hall of the dead.
Walkure opened with headless giants (representing lust over logic? not wanting to witness incest?). Placido Domingo reprised his role as Siegmund. This Siegmund was thirsty for more than water. The two lovers wore fetching matching outfits made of leaf-shaped leather rags. Hunding was a small, menacing man in leather, carrying a whip and showing brutal force towards Sieglinde. As the orchestra was smaller than most, and singers were at the front of the stage, I was mere feet from Placido in my front row center seat. His voice and acting ability remain superb. Ne plus ultra.
Act II showed Fricka arrive just in front of her two rams--the closest I have seen to what Wagner’s directions. Close, but no cigar. Again, superb acting, she was crying by the time she exited. The giants had horse heads, squid tentacles and a red heart that lit up for Wotan and Brunhilde.
The Walkures were not human. They were wild beings--the Grimm sisters—with feather shields, Vegas style headdresses and makeup by Kiss. Brunhilde (Olga Sergeyeva) was truly magnificent--tall, frightening, statuesque, dressed in black, with knee-high laced boots. It was to the credit of Siegfried and Gunther in later operas that she did not overpower them and that they held their own with her. Although the sound in the Concert Hall was criticized by powers greater than I, the hiyatoho’s had the hall vibrating. Wotan’s arrival was emphasized with prolonged thunder, as two primal forces of nature collided, exploded, then climaxed in the tender, passionate sadness and longing of Wotan’s Farewell. “There is nothing sadder than losing the person you love the most in this life—forever—and it’s your own darn fault—and you know it.” (Perry Lorenzo) No dry eyes around me.
Siegfried (Leonid Zakhozhav) began as an energetic cocky teenager, clothed in a red suede Tarzan outfit over a skin colored body suit with extra muscles (probably not needed for Zakhozhav). He rolled his eyes at Mime, and mocked his familiar words behind his back. A Russian bear (costumed), tamed by Siegfried, crossed the stage in a large exercise wheel. Mime (Vasily Gorshkov) was less acrobatic than some Mime’s; however played his role to perfection. His use of sprechstimme was very effective. His coat was covered in noisy artifacts—spoons,utensils, like a fridge covered with magnets. A craftsman wearing his wares. At the end of Act I, I remarked that Zakhozhav played such a realistic teenager; it was hard for me to imagine him as an adult.
However, he did just this. We watched him morph into an adult as he completed his tasks. The Wanderer wore an appropriate wolf skin over his black outfit, but curiously he was fitter and younger than he had been in the earlier operas, and not a tired old god.
Act III had a primitive feel, representing shamans of many cultures. The giants were decorated with lizards, turtles, scorpions.
Siegfried’s encounter with Wotan was definitive. It was a Man who vanquished his grandfather, and it was a Man who walked through the fire, ready for the challenges of love. A testament to the veracity of this opera was that there was absolutely no laughter at “this is no man”. As his bride awakened, Siegfried stayed behind her, watching her hail the sun, carefully copying her movements and learning. The final love scene was ecstatic. The best overall Siegfried I have seen.
Gotterdammerung was marred by a having a different Siegfried, whose costume was an embarrassment—his body suit was dark, obvious and too large for him, and his wig looked like it came straight from cleaning the floors. As all of the other costumes were meticulous in their detail, one can only wonder what sin this tenor had committed to be made to face the public wearing this atrocity. All of his scenes were difficult to take seriously. What a let down after the Siegfried of Leonid Zakhozhav. To quote the Orange County Register, “… one of the most comically inept performances of a major role that I’ve ever seen.….Donning a frightful mop of a blond wig, a bright red poncho thing and..(he) played Siegfried as a (complete) fool…an airhead with a dopey grin on his face all of the time. His death wasn’t tragic; it was a relief.” Once Siegfried was dead, the opera built strength and ended successfully.
Hagen was bald and beautiful man, wearing a large floor-length skirt of African design. His Buddha like meditation produced a touching dream-meeting with his father.
The large chorus sang effectively, even though there was barely enough room on stage for them. Waltrude, Larisa Diadkova, made her role into a major one, and stood alone in the middle of a steeply raked stage and belted out her story Another strong Walkure as Waltrude expressed the sentiments of the early Brunhilde. Fortunately, Olga Sergeyeva reprised her role again as Brunhilde. When Gunther made is intentions known, Brunhilde fought him off admirably, but ultimately unsuccessfully.
The fire in Gotterdammerung was projected solar flares, very appropriate for this other worldly Ring.
Through it all, the giants watched, reacted, bowed, changed, creating a sense of timelessness. A new improved future has been forged for us through the four operas and the four elements of water, fire, earth and sky. Will we take it?
Valery Gergiev and the Kirov Orchestra were strong, in spite of the facts that they were jet-lagged, and played one or more performances a day, even on non-Ring days. During his years at the Mariinsky Theatre, the Maestro has aimed to make the Opera Company world class. Over the past fifteen years, their repertoire has undergone unprecedented development, culminating in this Ring.
Surtitles were provided by the prolific Jonathan Dean of Seattle Opera. Although designed for the Seattle production, the titles served the Kirov well.
When the cast came out for bows, there were few signs of pleasure or reaction in their faces. Even standing ovations could not coax a smile from most of them. Odd. One ponders on what could cause such dourness.
During intermissions, an excellent dinner with wine was served on the balcony of the Performing Arts Center under the stars. Very civilized.
For those who missed the Kirov Ring in LA, good news. Two Rings will be performed this summer, July 2007, in New York at the Met. One can only imagine how a proper house with excellent acoustics and large stage and orchestra pit will improve this Ring. If you would like to join our tour group, contact June-hilde, June Slobodian at valhallaoperatours@mts.net or 1-888-737-4511, or check the website, www.valhallaoperatours.com.
Life is short
Opera is long
Wagner is forever.
Temper Wagner
June Slobodian
Return to the Los Angeles Kirov Tour page
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