Morris, Jay Hunter


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.

AtomicJohn Adams - Doctor Atomic

De Nederlandse Opera, Amsterdam 2007 | Lawrence Renes, Peter Sellars, Gerald Finley, Jessica Rivera, Eric Owens, Richard Paul Fink, James Maddalena, Thomas Glenn, Jay Hunter Morris, Ellen Rabiner | Opus Arte

There is no reason why opera can’t deal with really big subjects. Even in its earliest form, going right back to Monteverdi’s L’Orfeo and dealing with ancient classical mythology, right through to Verdi and Wagner, or even the treatment of the Holocaust in Weinberg’s The Passenger, through the combined artforms of drama and the abstraction of music given expression through human performance, opera has been able to delve deeply into the nature of humanity when faced by the big questions of existence – God, Love, War and the essential matters of Life and Death.

Obviously, those subjects are no less central to many aspects of our lives today and no less important to modern composers. It’s in this context that the operas of John Adams (Nixon in China, The Death of Klinghoffer) deal with contemporary or recent ‘headline’ subjects that have had a major impact of our lives or say something significant about the world we live in today. Dealing with Oppenheimer’s development and testing of the first Atom Bomb in June 1945, leading to its deployment in Japan at Hiroshima and Nagasaki, Doctor Atomic tackles with one of the most significant developments of the 20th century – if not actually the biggest since it deals with the potential annihilation of the entire human race – but one wonders whether this subject may indeed not be too big for opera, or at least for the limitations of composer John Adams and librettist and director Peter Sellars.

Atomic
Whether they succeed in their aims or not, no-one at least can accuse the authors of lacking in ambition. The decision to condense all the personal, moral, philosophical, political and military considerations around the development of the Atom Bomb into a 24 hour period, confining it (with some significant temporal twists) to the preparations for the first test of the bomb at Los Alamos in New Mexico is perhaps necessary from a dramatic perspective, but it does make it somewhat difficult to get to the human heart of the subject and the personalities involved. In some ways, of course, this reflects the dilemma of the scientists working on the project, caught up in the science of the work and in the middle of a war, there’s some urgency involved that doesn’t perhaps leave a lot of time for consideration of the moral and political implications, to say nothing of the personal toll that the results of the project will later exert over the consciences and lives of those men.

There is consequently some discussion and disagreement in Doctor Atomic between Oppenheimer and Teller not only over the estimated yield of the explosion and the possibly global catastrophic consequences that are as yet unknown, but also concerns voiced about the military application of their work on the Japanese people – without warning – particularly since Germany has already surrendered the war. The tense confrontations between scientists and the military advisors as well as the approaching deadline for the first test create a fraught situation that in only heightened and its dangers made real by the electrical storm that has arrived just at the critical moment.

The opera consequently maintains a high edge of intensity throughout. It’s evident in the discordant notes, and staccato strings of Adams’ score, underscored by rumbling percussion; it’s evident also in the sparse staging and stark lighting for this production at the De Nederlandse Opera in Amsterdam – a mobile set of wooden scaffolding over a “ground zero” circle that allows for a reasonable flow to me maintained between scenes. Aside from the busyness of Lucinda Childs’ dancers over the circle, the intensity of the production is even more pronounced however – perhaps to a state of being somewhat overwrought – by the singing performances and the delivery of a rather portentous libretto. Drawn from released declassified official documents, with the addition of some passages from Baudelaire and the Bhagavad Gita, the libretto may have authenticity and a sense of poetry that is certainly in keeping with the grandness of the subject, but it does indeed often sound like notes from scientific documents and personal journal observations rather than actual dialogue, and it consequently lacks any deeper insight into the nature of the people involved, or any sense of real human feeling.

Atomic

With a libretto taking in questions of life and death from the god-like stance in relation to such matters wielded by the figures involved, and with nature invoked in the forms of thunder and lightning (to say nothing of consideration of radioactive rain and visions of “cloud-flower” structures), such weighty pronouncements are moreover sung by a cast of powerful deep voices that are predominately baritone or bass-baritone for the main masculine roles (Gerald Finley, James Maddalena, Eric Owens, Richard Paul Fink) and mezzo-soprano for the two significant female roles (although Adams reworked Kitty Oppenheimer for soprano Jessica Rivera for this production, it’s still at the lower end of the soprano tessitura). The declarative delivery, against such a musical, scenic and dramatic background with a Chorus that has all the portentousness of a Greek Chorus, is, barring a few brief scenes, consequently never anything less than overwhelmingly tortured and angst-ridden.

Is such an approach justified? Would all these moral questions really have been weighted-up and agonised over in this way over such a short intense period of time, or is this a retrospective look at a significant moment taking in all the implications in the light of what would subsequently transpire in Hiroshima and Nagasaki? Either approach would be valid and the scope and nature of the subject itself undoubtedly calls out for just such a treatment, but does it work? There’s no doubting the ability of the composer and librettist to draw these diverse historical references, documents and characters together, poetically working nature and elements into the equation in a manner that is certainly powerful and – by the time one gets to the conclusion – dramatically effective, but rather than being in any way enlightening or instructive about the subject, the overwhelming feeling is that Doctor Atomic is just overwhelming.

Opus Arte’s Blu-ray release of this 2007 production at De Nederlandse Opera is a strong presentation of the work. It’s filmed often in extreme close-up (under the direction of Peter Sellars) and in High Definition under stark bright lighting, you might get to see right into the pores of the singers more than you would like to. Radio microphones are used for this production and visible on all the performers – whether this was for the stage or to allow better mixing for the recording, I’m not sure, but the Dolby TrueHD 2.0 and 5.1 soundtracks are well presented. In addition to a detailed on-screen synopsis and cast gallery, there are several short background mini-documentaries on the production, and an extended interview with Peter Sellars.

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.