The Wagner revival afoot in opera houses these days is clearly reflected in the many Ring cycles being performed around the country. I attended the third of Seattle Opera’s Ring cycles in August, and it was a roaring success. Robert Spano’s conducting created musical intensity and excitement, and kept this long and monumental work quick-paced and never dull. Stephen Wadsworth’s inventive directing also kept the drama of the cycle alive, and Thomas Lynch’s sets reflected a realistic approach that used the natural beauties of the Pacific Northwest as a constant inspiration.
Of the singers, Greer Grimsley certainly deserves major credit for his Wotan—his first. He acted with dramatic intensity and sang the part well, making this god entirely human. Jane Eaglen’s Brünnhilde seems to impress more with each performance, as she improves dramatically and makes the formidable vocal demands of the role sound both beautiful and easy.
Margaret Jane Wray’s Sieglinde proved humanly sympathetic, although by the third act her singing was a bit strained. Richard Berkeley-Steele’s Siegmund worked dramatically, although vocally one wished for a warmer sound. The Ring’s Siegfried, Alan Woodrow, sang with amazing ease and beauty of tone, and he acted with conviction, capturing both the comic and tragic aspects of this character.
Of the shorter roles, the women were especially impressive. Stephanie Blythe’s Fricka sounded wonderful—a large, gorgeous voice under total control. Ewa Podles made the two small roles of Erda and the First Norn ear-catching—hers is a real contralto voice, with all the exciting low notes entirely audible. Marie Plette sang both Freia and Gutrune, both sounding warmly feminine. Stephen Milling also sang two roles—Fasolt and Hunding—both sounding wonderful and imbued with a forceful dramatic presence.
Richard Paul Fink made Alberich the dominating presence this character should be—sometimes evil, sometimes sympathetic. Gidon Saks’ Hagen suffered from vocal problems—a sinus infection, alas—but was dramatically forceful.
In all, Seattle’s Ring cycle during August of 2005 was a vast improvement over the company’s performances of this production four years ago—thanks primarily to the sensitive and perceptive conducting of Robert Spano.
