Voigt, Deborah


GotterdammerungRichard Wagner - Götterdämmerung

Metropolitan Opera, New York 2012 | Fabio Luisi, Robert Lepage, Deborah Voigt, Wendy Bryn Harmer, Waltraud Meier, Jay Hunter Morris, Iain Paterson, Eric Owens, Hans-Peter König, Erin Morley, Jennifer Johnson Cano, Tamara Mumford, Maria Radner, Elizabeth Bishop, Heidi Melton | The Met: Live in HD, Feb 11th 2012

The evolution of the Metropolitan Opera’s Ring cycle has been gradual but noticeable through each of the four parts spread across its 2010/11 and 2011/12 seasons. Initially in the prologue, Das Rheingold, the spectacle of Robert Lepage’s Machine was clearly an impressive and revolutionary piece of stage technology, but its concept and purpose were not entirely proven. At the very least however, the opening section of the Met’s Ring cycle delighted with a stunning display of powerful singing. Neither the staging nor the singing were entirely consistent across Die Walküre nor Siegfried, but as James Levine’s illness forced him to gave way to Fabio Luisi on the conductor’s podium, a more equitable balance seemed to develop between the production and the performance that played to the strengths of Wagner’s masterwork, even if that meant a little less power in the vocal delivery. If Siegfried held out the promise that Lepage’s vision could end up being a memorable Ring production, that promise was satisfyingly achieved in its epic final evening. With Götterdämmerung, the Met’s Ring has come full circle.

Following on from Siegfried, Fabio Luisi again conducted a Wagner of Romantic sweep over the traditional heavy Germanic declamation, perhaps in favour of two leads who don’t have the full force that is usually demanded for the roles of Siegfried and Brünnhilde – Jay Hunter Morris and Deborah Voigt. The toning down of the dramatics and tone also worked fittingly with a subtlety in the stage design that belies the sheer weight and imposing presence of the Machine. Like Wagner’s score for Götterdämmerung, the underlying power of the tools at one’s disposal can be a temptation for overstatement, but it can be even more effective if that huge mass of force is suggested and used only sparingly. Clearly both Luisi and Lepage understand that. This is a Ring for the 2010s then, faithful to Wagner’s vision of the power of mythology and of the music drama as the highest expression of human artistic endeavour, taking it to a new level through the modern technology that is at the disposal of an imaginative director.

Gotterdammerung
Lepage’s vision for the production didn’t appear to yield any grand conceptual theme other than how best to make Wagner’s daunting and problematic series of operas work in a modern context without all its accumulated history and tradition. Particularly in the earlier parts, the morphing planks and projections worked mainly on a literal basis to create the imposing presence of Valhalla, an impenetrable forest or a mountain cave housing a dragon, but as the cycle progressed, the emphasis shifted more towards the abstract conceptual. The polymorphous nature of the technology was still well-employed to give solidity to the physicality of the story – the riverside playground of the Rhinemaidens for example actually looking more realistic here than how it was projected during Das Rheingold – but the colours, lighting and abstract patterns elsewhere in Götterdämmerung seemed to be more attuned to mood.

It may seem like making excuses for slightly underpowered performances, but it was actually refreshing to find a Siegfried and a Brünnhilde playing not as mythical god-like figures, but as the human characters they essentially and necessarily are. No excuses however need to be made, even for the fact that both Jay Hunter Morris and Deborah Voigt were taking on enormous challenges way beyond anything they have ever done in their careers; on their own terms their performances were exceptionally good and fitting for the production. The chemistry that seemed to be there between them at the end of Siegfried didn’t extend however through to the first act of Götterdämmerung, both seeming a little overwhelmed, the lack of lower depth in both their voices even more noticeable when combined. Voigt however raised her game when paired with the formidable and experienced Wagernian mezzo-soprano Waltraud Meier as Brünnhilde’s sister Valkyrie, Waltraude. Their sequence together was simply magnificent. For his part Morris won through from sheer determination and stamina in a severely testing role that demands a concentrated effort for six hours, but he also had a down-to-earth personality and charm that made the final scenes of the opera intimate and touching as well as being epically apocalyptic.

Gotterdammerung

If there were any misgivings about the appropriate Wagnerian tenor of the main roles not quite matching the earlier powerhouse performances of the likes of Bryn Terfel, Stephanie Blythe, Eric Owens and Jonas Kaufmann, there was again magnificent support here not only from Waltraud Meier, but Wendy Bryn Harmer proved to be a fine Gutrune, Hans-Peter König a formidable Hagen – blankly sinister in acting, but deeply menacing in tone of voice – and there was another impressive turn from Eric Owens who made the brief reappearance of Alberich more than memorable, particularly as his character is a vital link (and leitmotif) that sustains the overarching development and tone of the entire work. Only Iain Paterson failed to make his presence felt either as Gunther, but his weak-willed character was at least dramatically appropriate and fitting, and certainly not a weak element.

I can’t say what the experience would have been like in the theatre, but there was no evidence during the HD-Live broadcast of any noise from the stage equipment, or indeed any of the problematic breakdowns that have been the cause of complaints in some quarters. Everything on the stage flowed smoothly and impressively. On the big screen, Götterdämmerung was as grandly spectacular and as intimately moving as it ought to be, perfectly attuned to the score and the performances. The camerawork – directed a strong visual flair as usual by Gary Halvorson – was also well-judged to pick out the strengths in the performances and the production design, working with it, flowing with the mood of the piece. Although there are a few Ring productions still to come this year and next (the Munich one in particular should be interesting), when eventually viewed together as a full Ring cycle (it will be interesting to see if the first two are revised slightly to suit Luisi’s approach to the work) I think the full impact and consistency of this Met Ring will be better appreciated and it may even be regarded as one of the best of recent times.

Richard Wagner - Siegfried

The Metropolitan Opera, New York | Fabio Luisi, Robert Lepage, Deborah Voigt, Patricia Bardon, Jay Hunter Morris, Gerhard Siegel, Bryn Terfel, Eric Owens | The Met: Live in HD - November 5, 2011

I’m sure there are few productions of Wagner’s epic Der Ring des Nibelungen tetrology – the most ambitious and gargantuan production for any opera company to undertake – that are not beset with numerous difficulties and set-backs (even Bayreuth seem to be finding it difficult to engage a director willing to take on such a challenge at the moment), but the Metropolitan Opera in New York certainly haven’t made it easy for themselves with their 2010-12 production. The new technology designed and constructed to meet Robert Lepage’s concept was certainly an ambitious and innovative solution to maintaining the necessary consistency, commonality and fluidity that runs through each of the four Ring operas, but it has had more than its share of teething problems across Das Rheingold and Die Walküre. The news that the maestro James Levine’s health problems had forced him to stand down from Met conducting duties this season was also quite a blow to the production. All of this however seems relatively minor in comparison to the challenge of finding a Siegfried to replace the one who has just succumbed to illness only weeks before the opening of the critical third instalment.

Siegfried

Enter tenor Jay Hunter Morris from Paris, Texas to replace the indisposed Gary Lehman, seemingly unfazed by the challenge of stepping into one of the most difficult roles in the entire opera repertoire on one of the biggest stages in the world of opera. A man either with no concept of the notion of fear or one who acts out of blithe innocence for a heroic endeavour, and as such, there can be no more perfect a match for the role of Siegfried. Jay Hunter Morris fits the bill on this count and in the other areas that matter. He’s not the most lyrical or dramatic heldentenor you will ever hear in the role, but there are few enough Wagnerian tenors in the world that fit that description that are capable of stepping into the role of Siegfried at a few weeks’ notice and Morris sings the role exceptionally well, carrying it off with courage, enthusiasm, stamina and personality, looking every inch a classic Siegfried. He’s certainly capable of slaying this particular dragon and that he does it so confidently is quite an achievement.

An achievement also, I’m happy to say now that we’re fully into the third part, is the gradual evolution of Lepage’s vision of the Ring cycle. Relying entirely on a huge heavy and complex piece of machinery, with no backdrops other than the computer generated images and lighting projected onto it, and little even in the way of props, the Machine was a risky gamble, and yes, it’s had its technical problems along the way. How well it works on a conceptual level is also debatable, but in terms of how it allows consistency, balance and fluidity, tackling complex scene changes, without unnecessary distraction or taking the focus away from the singers, is perfectly judged and balanced. Although undoubtedly difficult and complex to achieve, here in Siegfried it gives the impression of simplicity, managing to morph quickly and impressively from one scene and mood to the next without being overly showy. Less is definitely more when it comes to dealing with Wagner’s blend of myths and concepts – Lepage understands this, Jay Hunter Morris understand this, and so too does Fabio Luisi, taking over capably from Levine and dealing admirably with the challenges that this difficult stage in Wagner’s masterwork presents.

Siegfried

There is however no element and no minor role that doesn’t present challenges for the individual singers and the performers in Siegfried, or for the director and conductor who has to keep a consistency between them and with the other parts of the tetraology. The dwarf Mime can be played and sung with too much comic exaggeration, but Gerhard Siegel has the experience to enter more fully and thoughtfully into the role, and fits in well with the tone already established in the production. There’s a darker impulse and desire lying beneath that chimes with the nature of his brother Alberich, re-evoked here again after Das Rheingold in the gorgeously rich deep tones of Eric Owens. Much of this is just colour to the overall purpose of Siegfried, but it’s vital that it fits in with the richness of the colour that Wagner interweaves into the musical tapestry for the interaction and motivations of main characters. There are perhaps too many echoes and motifs to juggle satisfactorily in this particular opera and not enough depth of plotting to gve it sufficient character of its own – although it’s a work of absolute genius on the part of Wagner to develop and extend this method – and consequently it’s not always done as well as it is managed here.

What helps ground the opera however are the importance of the roles and the performances of the central characters of Wotan, the Wanderer and Brünnhilde. Having grown steadily into the role after a solid but unimpressive Das Rheingold followed by a significantly more commanding Die Walküre, Bryn Terfel’s first Seigfried Wotan is simply wonderful here. His character’s motivations and personal conflicts of interest are difficult to make work dramatically, but if you just take Wotan at his word in song – and this production allows him the space to explore the character deeply that way – then he is an utterly convincing, flawed, tragic character. It’s a great performance. Scarcely less of a challenge dramatically and vocally, Deborah Voigt might not entirely satisfy critics of her Brünnhilde in Die Walküre – weak only in only some areas, I thought – but she rose to the challenge here in Siegfried, her casting fortuitously seeming to work well not only with Terfel’s Wotan in the previous Ring instalment, but complementing well with the humanity in Jay Hunter Morris’ performance.

I’m not sure that the Metropolitan Ring will be ever considered a classic or a revolutionary new look at Wagner’s masterwork, but through good choices in the casting – along with more than a little bit of luck – and through a thoughtful, considered and balanced approach to the score and the production design, those performers are given full range of interpretation and expression, which if it is not revelatory, is at least consistent and of the highest quality. The standard has been set at a high level and the scene is now set for the Twilight of the Gods. Bring on Götterdämmerung.

WalkureRichard Wagner - Die Walküre

The Metropolitan Opera, New York | James Levine, Robert Lepage, Deborah Voigt, Bryn Terfel, Stephanie Blythe, Eva-Maria Westbroek, Jonas Kaufmann, Hans-Peter König | The Met: Live in HD - May 14, 2011

The second part of Wagner’s Der Ring des Nibelungen, Die Walküre, closed the Metropolitan Opera’s Live in HD series for a 2010-11 season that had opened with the first of the Met’s new and ambitious Ring Cycle, Das Rheingold. Robert Lepage’s production of the prelude of the epic opera cycle certainly showed a lot of ambition and ingenuity, with a specially designed and constructed piece of twisting, revolving high-tech machinery that would serve as a backdrop and stage over and above the (reinforced) Met stage, but as to whether this Ring cycle would be one of the greats, well, like any staging of the complete work, judgements really need to be reserved until we get to Die Walküre. On the basis of now having two parts of Wagner’s massive work performed (with the remaining two parts Siegfried and Götterdämmerung to be staged in the Met’s 2011-12 season), it’s still a little too early to say, but the Lepage production is certainly looking like being a highly memorable new staging of the Ring Cycle.

What was at least already evident from Das Rheingold, beyond the obvious and impressive ingenuity of the morphing huge mechanical structure of “planks”, was the quality of the singing that lent the prelude’s entertaining fairytale of gods, giants and dwarfs with their lust for gold and power a deeper and rather more human quality than the opening part of the story is traditionally accorded. Whether that element would be sustained in Die Walküre was however in little doubt, with Bryn Terfel and Stephanie Blythe reprising their roles as Wotan and Fricka and a terrific casting that would see Deborah Voigt in the role of the Valkyrie Brünnhilde, Eva-Maria Westbroek (recently seen at the Royal Opera House as Anna Nicole) playing Sieglinde, Jonas Kaufmann as Siegmund and Hans-Peter König as Hunding.

Die Walküre is structured in such a way that all these roles are of vital importance and any one weak link could bring the whole construction down. Act One depends on a strong bond being developed between Siegmund and Sieglinde, two twins, human Wälsung offspring of Wotan, separated at birth who meet and fall in love in an incestuous relationship that is to produce the important figure of Siegfried; Act Two is largely sustained and dramatically driven by the argument between Wotan and Fricka over Wotan’s meddling in human affairs and the threat to the sanctity of marriage that this incestuous relationship represents; Act Three, and really the opera as a whole, relies on the bond that exists between Wotan and Brünnhilde, his favourite daughter and leader of the Valkyrie, a warrior band of sisters whose task it is to lead heroes who have died in battle to Valhalla, who defies the will of her father to tragic consequences.

Walkure

As fine as the singers all are in these roles, Wagner’s Die Walküre presents tremendous vocal challenges that can expose those unused to its demands, so there were nonetheless potential dangers in each of the music-drama’s key relationships. More used to lyrical Italian tenor roles, Jonas Kaufmann however switched to a different register without too much difficulty, while Eva-Maria Westbroek, who I’ve seen do Puccini, Strauss and Turnage, clearly seems to be best suited to being a Wagner soprano, delivered the finest performance I have ever seen from her to date. Stephanie Blythe succeeded in making her Fricke seem more than a bitter shrew in the Second Act, the audience able to sympathise to some extent with her position, short-reaching and motivated by personal jealousy though it is, while Bryn Terfel’s Wotan at the same time did not seem weak in bowing to her demands, but rather fatalistically yielding to the inevitable fate that has been predicted by Erda at the end of Das Rheingold. The conclusion to Act II that brings all the characters together was therefore every bit as effective and doom-laden as it ought to be.

Where Die Walküre stands or falls however is in the father-daughter relationship between Wotan and Brünnhilde, and it was by no means certain that it would work in this production any better than the most recent Bayreuth production (on Blu-ray). Deborah Voigt showed a few wobbles in her earlier Met performances as Minnie in Puccini’s La Fanciulla del West, while Bryn Terfel – as terrific a singer and performer as we all know he is – failed to make a significant impression as Wotan in a Rheingold filled with much stronger Wagnerian voices. The real test of his Wotan however is in Die Walküre. It’s an opera I’ve seen him sing before most powerfully back in 2005 (in concert for the BBC Proms), and if anything his singing here was even better and his interpretation of the role much improved. And that is saying something. Deborah Voigt didn’t have the rich middle register that you’d ideally like to hear in the role of Brünnhilde, but she sang the role superbly and her lighter voice actually worked well in establishing her as an impetuous child torn between pleasing her father and incurring his wrath through an act – intervening in the fate of Siegmund – that she believes is necessary.

Walkure

The relationship between father and daughter is critical in dramatic terms and in human terms for the tragedy that unfolds, and Terfel and Voigt get it right, and not just in the Third Act. Act II establishes the nature of their relationship well, with some playful kidding around and punches to the shoulder that other productions would find difficult to countenance as being the actions of dark, serious immortals. The nature of the relationship changes as the drama progresses, and at every stage the two singers seem to be on the same page, Voigt’s sensitive Brünnhilde supporting the depth of feeling that Terfel draws out of Wotan’s terrible dilemma, truly giving him something to agonise over. It’s absolutely wonderful to see.

Also wonderful is watching the Met’s Ring Machine in operation, transforming fluidly in an instant from the dark and imposing forest of the opera’s stormy Vorspeil to Hunding’s lodge, the synchronised projections creating the necessary textures. It’s not overused either in a way that would dominate over the drama or the singing, blending subtly rather to meets the demands of the narrative and the mood, as it should. I would prefer it however if it was a little more integral to the opera and had some more obvious conceptual meaning. In an interview for ‘Opera News’ Robert Lepage makes interesting observations about Time and about the Ring Cycle being not so much a circle as a series of spiralling events, but it’s difficult to grasp this from watching Das Rheingold and Die Walküre alone. The remaining two instalments will prove whether something is made of that necessary conceptual element that will determine whether this is to be a truly great Ring Cycle or not, but even from a spectacle viewpoint and from the quality of the performances so far – not least with James Levine leading a storming Metropolitan orchestra performance – this is shaping up to be a memorable staging of one of the opera’s greatest achievements.

FanciullaGiacomo Puccini - La Fanciulla del West

The Metropolitan Opera, New York | Nicola Luisotti, Giancarlo del Monaco, Deborah Voigt, Marcello Giordani, Lucio Gallo | The Met: Live in HD - January 8, 2011

The staging of La Fanciulla del West in the current season of the Metropolitan Opera and its broadcast around the world as part of their The Met Live in HD programme, was to commemorate the 100th anniversary of Puccini’s American opera. Based on a play by famed American theatre impresario David Belasco, “The Golden Girl of the West”, the first ever performance of the opera at the Met was directed by Belasco himself, conducted by Arturo Toscanini, with Emmy Destinn as Minnie and the great Caruso as Dick Johnson, with Puccini himself in attendance. The elaborately period detailed Giancarlo del Monaco production from 1991 was revived for the occasion of the anniversary of one of Puccini more intriguing operas, if perhaps not one of his best.

Dating from 1910, it’s not inaccurate then to consider La Fanciulla de West as the first “Spaghetti Western” (although such racial stereotyping was played down here, as were some of the rather crude racial references to Native Americans and the Chinese in the actual opera, at least in the subtitled translation). The opera, based on Belasco’s play, certainly establishes a few of the traditional characters and set-pieces that would become familiar in Hollywood Westerns down through the ages, and these are certainly retained with the traditional, and perhaps even knowing, nature of the Met’s production. The saloon, complete with moose-head for target practice, is established as the perfect place to introduce the characters in Act 1. Set in a Californian mining camp around 1850, the men are prospectors, forty-niners, some of them gamblers playing poker, some of them cheating – leading to the inevitable bar-room brawls and shoot-outs – while others long for the folks back home and take comfort in bible lessons. All of them however are in love with the only woman in the place, Minnie, who works at the Polka bar.

Unfortunately, Puccini can’t bring anything deeper than this out of the elements and the storyline is consequently little more than a basic love story that plays out between two pretenders for the barmaid’s hand, the sheriff Jack Rance, and newcomer Dick Johnson, who is reality is an outlaw known as Ramerrez. Puccini is of course the master of the love story, particularly the tragic love story where life throws almost insurmountable difficulties at an unexpected love that has just freshly blossomed, but while there is some clever use of metaphor for those sentiments in the mining occupation of the prospectors – the only treasure all of them want above all the gold in the mountains is Minnie’s love – the storyline elsewhere is fairly run of the mill, the drama being around whether it will be an outlaw who steals that particular “treasure” from the virginal Minnie.

Fanciulla

Puccini however attempts rather more sophistication in the music itself, modernising his writing, mindful of the impact of Wagner while at the same time keeping those familiar melodic traits and crescendos that hit the expected emotional high notes. If it’s not quite to the same depth or complexity in the characterisation of his romantic hero and heroine this time, and there are no memorable arias comparable with Tosca, La Bohème or Madama Butterfly, the singing does however manage to express a longing and an emotional life to the characters that would otherwise be invisible behind the tough, weathered exteriors of the hard-life and deprivations they have suffered being so far away from home, living in the hope of something better.

As Deborah Voigt acknowledged in the interview during the interval of The Met Live in HD broadcast, Minnie is consequently a rather more challenging singing and dramatic role, and not suited to the typical heroine of a Puccini opera. Voigt fits the bill well as Minnie, noted for her Strauss and Wagner roles, but having some of the gentler lyrical qualities of a Puccinian lyrical soprano. While the demands of the role and the performance took their toll on some of the high notes of the Act 1, Voigt hits the emotional force of all the key moments in Act 2 – where the opera really comes together – bringing out the full depth of Minnie’s personality while retaining the vulnerability of her position. Lucio Gallo reprises the role of sheriff Jack Vance that he performed for the rather camp Nikolaus Lehnhoff production at the Nederlandse Opera last year (reviewed on Blu-ray here), giving it a little more spice as the baritone baddie, all but twirling his moustache. Marcello Giordani sang the role of Dick Johnson well enough, but never made much of an impression otherwise.

I’ve never been totally sold on La Fanciulla del West as an opera – mainly on account of the rather simple and crude storyline – but it does represent an interesting stage in Puccini’s career and it does indeed have many fascinating musical aspects and melody lines that draw much more out of the work than is evident from the surface impressions given by the characters. La Fanciulla del West is perhaps a Puccini for those who don’t normally like Puccini, but without the usual sureties of a typical Puccini opera, it’s also consequently more difficult to make it work effectively. I haven’t seen a production I’ve been entirely happy with – though I’m sure it can be done – but, particularly in its impressive second Act, the Met’s 100th anniversary staging was a fine effort nonetheless.