Siegfried Review: Invigorating and Mesmerising Staging at Royal Opera House
The third opera of Barrie Kosky's Ring cycle, Siegfried, captivates audiences at the Royal Opera House in London with a production that is both thoughtful and deft. This instalment once again places the ancient earth goddess Erda centre stage, portrayed by octogenarian actor Illona Linthwaite, whose silent, naked presence mesmerises throughout the four-and-a-half-hour performance.
Erda's Mythical Presence and Stellar Cast
From the opening scene, where Erda's feet sway gently on a swing beneath a gnarled tree, the production establishes a mythical aura. Erda is not merely a witness but potentially an active director of events, as seen when she births a younger, singing version of herself during a tense confrontation with Wotan. This adds depth to the narrative, suggesting she may be orchestrating the downfall of the old order with subtle tools like a watering can and a handbag of feathers.
The cast excels in bringing Wagner's conversational dialogue to life. Christopher Maltman delivers a velvet-toned, coldly calculating Wotan, now dishevelled and unkempt, contrasting with Peter Hoare's straggly Mime. Soloman Howard's Fafner, adorned in a glittering stalagmite suit, provides a visual spectacle, while Wiebke Lehmkuhl and Elisabet Strid offer sonorous and gleaming vocal performances as Erda and Brünnhilde, respectively.
Andreas Schager's Extraordinary Debut
Andreas Schager makes an extraordinary house debut in the title role, his clarion tenor standing out with a louder, freer, and clearer setting than the rest of the cast. His invigorating performance is tireless, allowing conductor Antonio Pappano to unleash the orchestra without restraint. The orchestral playing captures the complex colours of Wagner's score, highlighting moments of light while embracing its swathes of shade, showcasing a seamless collaboration between Pappano and Kosky.
This production, with its serious intent and deft touch, promises an engaging Ring cycle, set to continue with Götterdämmerung next year. Performances run until 6 April, with live cinema broadcasts starting 31 March.
