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Eye on Arts

25.3.04

Der Ring from New York, cont.
Contributed by Charles T. Downey at 9:34 AM | Link to this article
Fortunately, the second scene is saved by the mercurial character of Loge, whose entrance in Das Rheingold is accompanied by the shifty leitmotif that is one of best signatures in the Ring cycle. Tenor Philip Langridge gave a great performance in this role, the lying trickster of the gods, who manages to stave off the death of the gods (which would be assured by the absence of Freia) by relating the story of the theft of the Rhinegold and the creation of the ring of power. With lust for the gold, the giants carry off Freia and allow Wotan 12 hours to come up with it as a ransom for her. The orchestra weaves its transitional tapestry again, as the scene descends into Nibelheim where Mime and the other Nibelungs do Alberich's bidding in the third scene. Both entering and leaving Nibelheim, the orchestral fabric is interrupted by a short rhythmic section of music that calls for 18 tuned anvils. This sounded great on the radio, in spite of the challenges inherent in making this work in a live performance. As Alberich Richard Paul Fink gave what was, I think, the best performance of this remarkable cast. He had power, consistency, and great variation of color and tone.

Wotan and Loge eventually trick Alberich and steal everything: all of the gold and treasure the Nibelungs have amassed for him, the Tarnhelm (which makes its wearer invisible), and the ring, upon which Alberich places his curse. Back in the upper world, the gods come back together as the giants return looking for their ransom. The giants insist that the treasure has to be piled up so that it covers Freia, in order that they may forget her beauty and release her. The treasure covers most of her, but they insist that the Tarnhelm be added to cover her hair, and the ring, now on Wotan's finger, must cover her eye. With his usual shortsightedness (he has only one eye, after all), Wotan refuses to yield the ring, but the mysterious goddess Erda rises up from the earth and, with the Rhine music leitmotif recast in a minor key accompanying her singing, warns Wotan that he must yield the ring. This must be a difficult role, sung by contralto Elena Zaremba, appearing only at the end of the opera in what is a crucial and dramatic scene. Ms. Zaremba has a dark voice that seemed a little forced on the radio, almost cracking at some points and undermined by a sometimes wild vibrato.

Of course, Wotan does yield the ring. The giants quarrel over how to divide their treasure, and Fafner slays his brother Fasolt to claim everything for himself. Freia is returned, and with her the eternal youth of the gods. Donner, god of thunder, swings his hammer and a bridge of clouds forms, over which the gods enter their new fortress in the sky, Valhalla. While I would have enjoyed seeing the production at the Met (I have yet to see the Ring cycle staged: see my post on August 12, 2003, Bayreuth, Anyone?), I was quite glad to be able to listen to this admirable performance on the radio.

Tune in for the rest of the Ring cycle broadcasts: Die Walküre on April 3, Siegfried on April 17, and Götterdämmerung on April 23.

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