Běda, Rusalka, běda (Poor Rusalka)

I’ve been on a blogcation for reasons related to work, as well as some concern that the world will not in fact exist in a few weeks so why am I writing about Bellini? Also, the opportunity to avoid both Gounod and Bartlett Sher at the same time was a proposition too efficient to resist. But as longtime readers may know, if a new production of Rusalka isn’t going to get me back, nothing is going to get me back. I’m back! Alas, this new Met Rusalka is not good.

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Parsifal: the Met’s knights to remember

The most enthralling section of Met’s new production of Parsifal is a portion that, in most productions, is the most dreaded: the first two-thirds of Act 3. Too often it’s a bore, but here it’s hypnotic, sinking the audience deeply into the ritualistic and the very slow, from the music to the movements onstage. It is drama like this–grave and mysterious–that this production does best.

In many ways this performance was a big win for the Met. This is a musically outstanding Parsifal with great performances that balance the human and the mythic. There are many disturbing and sad things in it. The production is beautiful and has some striking visual moments. But these moments aren’t quite enough to make an interpretation, and I was left moved but with some big questions.


Wagner, Parsifal. Metropolitan Opera, 2/15/2012. New production premiere directed by François Girard, conducted by Daniele Gatti with Jonas Kaufmann (Parsifal), René Pape (Gurnemanz), Katarina Dalayman (Kundry), Peter Mattei (Amfortas), Evgeny Nikitin (Klingsor)

The setting of François Girard’s production is quite abstract. Before the performance, an undulating reflection of the opera house’s lights on the curtain informs us that this is a story about us. The staged prelude shows a lineup of anonymous men and women. Only Parsifal stands out, smack in the middle but not participating. The men take off their jackets and ties and separate from the women. This is not very much to occur during the 14 or so minutes of prelude (bless you, Gatti), and it goes by, like the music, with ceremonial gravity.

 
The lights come up on a brown-orange desert wasteland bisected by a dried-up river (Michael Levine is the set designer). On the cyc, projections show, for now, a serious of scary storm-is-a-comin’ clouds. These evolve later into a series of planets, vague plumes of smoke, and what looks like extreme closeups of naked skin (the Met should hire the designer, Peter Flaherty, to do a makeover on the Lepage Screensavers). The men form a single tight circle on the right, the women loiter on the other side of the river on the left. All the male knight characters emerge from this circle; Kundry never crosses the river.

(actually Act 3)

The stage pictures are fairly static but the acting gives the characters real humanity and vulnerability–Amfortas is dragged around by two knights, unable to stand alone, and Parsifal collapses when he hears of his mother’s death (whether Parsifal should have as much Mitleid for the swan and Act 1 Amfortas as he shows… well, I’m not as sure about that). But there’s also a ritual quality to the knights’ choreographed prayer movements and occasional simultaneous reactions, preserving (along with the abstraction of the setting) a sense of mystery. This combination is the best thing about the production. Other things are quite traditional: Kundry is given a conventional crazy lady interpretation, and the grail is a glowing golden goblet in a box. The swan is a swan, though also a symbol of femininity, brought on by a Flower Maiden and kept only on the women’s side of the stage.

At the end of the act, the dried-up river opens up into a chasm and Parsifal looks down into it. In Act 2, we’re down there, and it’s Klingsor’s lair, and it’s also Amfortas’s wound, which we get because of the enormous pool of blood covering most of the stage (the looming walls with a gap upstage center it also look like a giant vagina–somehow Act 2 of Parsifal is the locus classicus of vaginal set design). While the first act mixed the aesthetic with the symbolic, here the aesthetic takes over nearly completely. Klingsor is a bloody version of the knights, the flower maidens a mixture of dancers and singers with knee-length black hair and white dresses and their own spears (the very effective choreography is by Carolyn Choa). Everyone splashes around in the blood, Kundry attempts to seduce Parsifal (none too sexily here, it comes across as maternal if anything) on a conveniently appearing bed that also starts seeping blood, and finally Parsifal claims the spear with a gesture that I couldn’t quite identify and a straightforward grab from Klingsor.

Act 3 returns to the wasteland, this time pocked with waiting graves for the dying knights. Parsifal reappears, first as a decrepit, unidentifiable (meaning that he is wearing a cloak over his face, in lieu of armor) pilgrim, walking only with the assistance of the spear, then gradually turning into a (shirtless) ecstatic mystic. He also, after baptizing Kundry, crosses the magic river onto the women’s side, and gets the white shirt that marks him as a Grail knight. The return to the Grail Temple reveals knights who can no longer stand together in a circle (or apparently notice the male-female divide). Amfortas ends up in Titurel’s grave, when Kundry (!) finally appears with the Grail box. Then Parsifal shows up, indicates to the women to intersperse themselves with the men, restores the Grail’s power by sticking the spear into it. He lifts up the grail, Kundry collapses lifeless (Wagner says “entseelt”–her soul has finally departed), and all are blessed. (No dove.*)

So it is in many ways a very moving production, with Peter Mattei’s agonized Amfortas and Jonas Kaufmann’s messianic Parsifal taking acting honors. Some of it feels familiar from Syberberg and Lehnhoff (particularly the post-apocalyptic atmosphere), but that’s OK. It is, for the most part, enthralling to watch. But I have to say I have grave doubts as to the Meaning of it All. I think preserving a sense of mystery and wonder is crucial to Parsifal’s appeal. But this production does make several big gestures towards having a vision of the drama’s allegorical meaning, too. They aren’t plentiful, as a maximalist who has watched the Herheim Parsifal too many times I find it intellectually quite sparse. Since it doesn’t venture too much, I’m not inclined to cut the production a lot of slack for things that don’t make sense, and I think it has some big issues.

The production’s thesis seems to be that the world–as exemplified by Monsalvat– is out of joint, the men and women separated and the knights closed into themselves. By making them mix it up and giving Kundry a role in the Grail ceremony, Parsifal restores balance. But by choosing gender as the signifier of spiritual imbalance, Girard makes things very hard for himself. The production ignores the really crucial and pernicious portrayal of women in Act 2. Inside the wound or not, they’re still women. (It’s a too infrequently noted hypocrisy of Parsifal that the opera argues that women are the source for the evil from which the knights have to be purified, and yet indulges the work’s audience in a prolonged scene of women singing together and besieging the male hero. Lord, make me chaste, but let me spend a long weekend at the Venusburg first.)

Girard’s idea of the women’s exclusion from society as the source of the knights’ problems really appeals to me. But I’m afraid that if you stage Act 2 as a conventional male gaze sensual extravaganza, which he does, it doesn’t really convince. Parsifal is a confusing work, sure, but it has some central themes that are pretty clear: the knights have been tainted by sensual temptation. Redemption can only come from a pure fool (Parsifal), who first needs to learn compassion. He becomes a sexual ascetic after refusing Kundry’s seduction. So Girard’s idea of inverting this demands some serious intervention in the portrayal of seduction as the source of the knight’s problems as well as Parsifal’s awakening to asceticism, something that he does not do.

The production is largely, sorry, redeemed by the strength and humanity of its performances, and the music. Conductor Daniele Gatti gave a lyrical, mournful rendition of the score, with very slow tempos (a bit faster than his even slower Bayreuth ones). Gurnemanz’s Act 1 monologue, Amfortas’s Act 3 speech, and “Nur wine Waffe taugt” were particularly extreme: the first static, the second spent, the third majestic. “Hier war das Tosen”–the first Flower Maiden section–was, on the other hand, hard-driven. Gatti impresses more through his subtlety than his brilliance, but this was a rendition with a great deal of dramatic gravity. The orchestra sounded better than they have in some time, with the exception of some unfortunate clams in the brass, including a very prominent one in the prelude.

The cast is probably one of the best you could assemble today. Jonas Kaufmann is a fantastic Act 3 Parsifal and an excellent Act 1 and 2 one. He sings and acts this score with remarkable subtlety and musicality, evolving from a bright-sounding and curious boy to an exhausted and finally triumphant mystic, the latter with remarkable stage presence and a darkened sound in which the years between Acts 2 and 3 were audible. He was audibly pacing himself, but sounded great at the biggest moments, most memorably the final section of “Amfortas! Die Wunde!” (you can see a video of the first part of this below). Peter Mattei is a highly unusual Amfortas. This role is usually barked and spat out, but he sings it with warmth and somewhat Italianate style, and acts it with enough agony that never became aimless flailing. He also can cope with Gatti’s extreme tempos, and make them meaningful. René Pape is a Gurnemanz of depth and honeyed tone, who makes those monologues go by as quickly as they could, and with rare authority and nobility.

Katarina Dalayman as Kundry had a rough Act 1, with a rather unruly dramatic soprano that didn’t always sound quite when it needed to. But lack of control isn’t always a bad thing in a Kundry (nor is trouble with high notes, and she had that as well), and she actually managed the lyrical moments in Act 2 very well, building up to the dramatic high points with excellent timing. It’s a shame that the production didn’t do more with her character. Evgeny Nikitin (he of the Bayreuth tattoo scandal) was a suitably nasty Klingsor. As Titurel, debutant Rúni Brattaberg sounded cavernous, but it’s hard to judge as I believe he was amplified from above. The Flower Maidens were a good group, and the minor knights were fine. The Voice from Above experienced some intonational issues.

It is well worth seeing, first and foremost for the music. The production provides an engrossing sensory experience that should be accessible for those not familiar with the opera, but more experienced Wagnerians may be somewhat troubled by the logical gaps and selectivity of the production. It remains, however, a big win for the Met.

More photos below the video. Parsifal continues through February and early March; the inevitable HD broadcast is on March 2.

*Wagner literalists: I want to see someone stage Amfortas’s vision exactly as he describes it in the libretto, with the letters in the air.

Photos copyright Ken Howard/Met. 
Video:

Photos:

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Götterdämmerung: Zu End’ ewiges Wissen, and other endings

Why do we still want to see and hear the Ring? It’s not because of the dwarfs, the spells, the sword, or the gold. The Ring includes an unfair quantity of the greatest music ever written, and it’s expressing something a lot more profound and ambiguous than the novelty of seeing a dude in a bear suit. We want the Ring because in it we can hear love and rage and hope and evil amplified into the most glorious, mysterious sound. This is something Robert Lepage never seems to have grasped in his Met Ring Cycle.

To quote the First Norn, “ein wüstes Gesicht wirrt mir wüthend den Sinn.” Götterdämmerung is the weakest link of Lepage’s cycle. If there was redemption in this final performance of the Met’s Cycle 2, it was through the talent and hard work of the performers.


Wagner, Götterdämmerung. Met Opera Ring Cycle 2, 5/3/2012. Production by Robert Lepage, conducted by Fabio Luisi with Katarina Dalayman (Brünnhilde), Jay Hunter Morris (Siegfried), Iain Paterson (Gunther), Wendy Bryn Harmer (Gutrune), Hans-Peter König (Hagen), Karen Cargill (Waltraute), Richard Paul Fink (Alberich), Maria Radner (First Norn), Elizabeth Bishop (Second Norn), Heidi Melton (Third Norn).

If you take the Ring literally, it’s pretty silly. So much of it’s supernatural, the causality of some events can be muddled (the Ring ends up back in the Rhine, so why does the Götterdämmerung proceed apace anyway?), there are a few weird plot holes (dead Siegfried shooing Hagen away from the Ring), and all sorts of other ridiculousnesses. Of course you can “solve” these problems–but in the larger picture to take the Ring so literally is idiotic. It’s myth, and it functions on a symbolic level and speaks to us in terms more ambiguous and timeless than the specific events that are being portrayed.

Robert Lepage, for all his talk of “fantasy,” has given us the expected, the swords and breastplates that confine the story to a picturesque storybook. The Machine dwarfs the singers and imposes its overwhelmingly simplistic scene-setting upon every moment. The characters, the emotion, and music that carries them all seems like an afterthought, because we have mountains to look at here, dammit. The Machine does not open up possibilities but preclude them, it threatens to make bland and tame all it touches.

Lepage reaches new heights of vacuity in each act of this Götterdämmerung. First the Norns stand still as the Machine wiggles. Then Brünnhilde incomprehensibly enters from the opposite side of the stage as Siegfried and equally incomprehensibly wields Nothung. This leads to nonsensical character work in Act 1 (Hagen and Gunther and Gutrune are just one big happy family… wait, what?), and then Hagen delivers his entire monologue sitting still in a chair. I suppose he could be sitting still with menace. But really, he’s not.

That seems minor compared to the problems of Act 2. It begins with the Hagen-Alberich scene in which Hagen remains still behind a big shield that looks like a speaker’s podium. We had a last-minute replacement Alberich, Richard Paul Fink (not pictured), and I was sure he was just wandering onstage in his street clothes. It turns out he was in fact wearing the costume–minus, of course, Eric Owens’s hair (pictured above on the left) (which on Fink would have been a disaster far greater than Frank van Aken sporting Jonas Kaufmann’s hair last weekend was). It’s just not the most inspired costume design, suggesting Alberich has spent his spare time away from the world of the rest of the production, perhaps becoming a new music conductor.

Later, the conspiracy trio involves a pair of angled chairs (seen above) that look like a setup for William Berger to ask Jay Hunter Morris a few more questions about working in roller skate rental, and the act concludes with a small crowd of vassals waving teeny streamers and creating a traffic jam near the undersized stage left exit to the flurry of smash-bang triumphant-scary music (sorry, Wagnerian German inspires such collocations).

But the end of the opera remains the worst thing (skipping over the scene where the Rhinemaidens slide down the wall, climb back up it, and slide down again ad infinitum*). Siegfried’s pyre flickers meekly and slowly trundles upstage, Brünnhilde gets on Grane (props to Katarina Dalayman for managing this by herself with relative grace, an improvement over being lifted into place as seen earlier) and follows, and the machine rotates to enact a transformation to the Rhine. Hagen briefly runs after the Rhinemaidens, ending in a freeze-frame with his arm stretched back as if poised to grab them, but he doesn’t do so and they hold this for several seconds and then all slowly descend on an elevator. We get a lot of visible stagehands apparently helping the statues of the gods to gently crumble, as if centuries are passing seen through a time-lapse camera. An inglorious end to an infuriating project.

It may have been promoted as the Wagner Event of the Century (and I can’t blame the Met for doing this, they have to sell their tickets), but it’s best treated as a revival of a 20-year old production to which each singer brings their own strengths and weaknesses. When I managed to forget the hulking mass of the Machine and concentrate on the performers, I enjoyed it the most. This means to give up hopes of a unified dramatic conception, but there has never been one here. Forget Lepage, take and leave each individual performance for what it offers. (This is not a Gesamtkunstwerk.)

Katarina Dalayman was a noble Brünnhilde of considerable dramatic stature and power. Her voice remains shrill and uncontrolled at the top, but her presence and vivid way with the music had grown considerably since Walküre. Her raw emotion was the only thing worth watching in the big betrothal scene, and her Immolation had a generosity and large-scale expression that almost made the silliness around her recede. I wish I could understand her German better, but I feel like she knows what she’s saying even if her diction isn’t that great.

Jay Hunter Morris had a more successful evening than at the premiere. He got off to a scratchy start in the Prologue, but warmed up to his customary bright and clean singing (though skipping the C). He never has the power to really fill the house, but paced himself extremely well and was still sounding fresh through the torturous death scene. He has a likeable, friendly presence, and Siegfried is hardly a complex character, but I could use more acting-wise in the final scene. (If one can ever ask for that without being very nasty. It’s a hard thing to sing, to say the least.) I hope he can next work on this interpretation somewhere in Europe where he’ll be singing in a smaller house and get some good direction.

Karen Cargill had big shoes to fill replacing Waltraud Meier as Waltraute, but if she isn’t Meier’s rival in textual insight (who is?) her giant chocolately voice was a considerable pleasure. Iain Paterson is an interesting Gunther, aware and frustrated but resigned to his status as a beta male, and a fine singer of this rather thankless role. Hans-Peter König’s Hagen is an enigma: astonishingly well sung with an enormous, black bass, but so utterly lacking in menace that he might as well be Baron Ochs. In the remaining roles, Wendy Bryn Harmer kept up her duties in the Help! Help! fach, Heidi Melton’s Third Norn is the great Wagner soprano of the future, and the Rhinemaidens were less shrill and more evenly balanced than before. The chorus was excellent.

I’ve run out of words to describe Fabio Luisi’s conducting. It’s competent, fluent, perfectly sufficient and at most points falls a bit short of being profound. The brass didn’t have the best night, but I’ve heard far worse.

The Ring is so special, even a mediocre Götterdämmerung has the power to leave you sort of a mess at the end, but still I can’t picture myself going to see this production again in a hurry. It’s too distancing, too boring, too ugly. With a major stroke of casting genius–Christian Thielemann or Nina Stemme come to mind–we’d talk, but when it comes to next year’s line-up I don’t think I’ll be alone in giving it a miss.

I went back to see the first thing I wrote about this Ring. It was this:

I am a Robert Lepage skeptic. He seems more interested in creating
images than narrative, and more taken with gadgets than characters.  And
a Ring Cycle without an overarching sense of narrative would be
dire.  This will be an important moment for the Met, and let’s hope that
it turns out well.  As if that weren’t enough, add a complicated set, a
very fragile conductor, and a dangerous number of unreliable and/or
role-debuting singers and you have… enormous potential for backstage
drama. 

To which I say this.

I’m putting the Wagner back on the shelf for now but not for long. I’ll be returning to the Ring in July for the Bayerische Staatsoper’s Cycle B.

*Also in this stretch: Gunther washes Siegfried’s blood in the Rhine, turning a large part of the Machine red. This reminded me of the end of Herheim’s Bayreuth Parsifal in reverse, but I really doubt Lepage has seen it.

PREVIOUSLY in order of appearance:
HD broadcast, Die Walküre
Siegfried prima
Götterdämmerung prima
Cycle 2 Das Rheingold 
Cycle 2 Die Walküre
 
A few more photos, all © Ken Howard/Met:

 

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Die Walküre: Stories twice told

I fear writing this much about the Met’s still-unfolding Ring cycle may be having a bad effect on my brain, but I went to Die Walküre on Saturday and here’s what happened. The production is still simple-minded, Bryn Terfel is still the best, Fabio Luisi is still Fabio Luisi, Jonas Kaufmann canceled, and I continue to learn what makes Wagner special by seeing what has been drained out of this production.


Wagner, Die Walküre. Metropolitan Opera Ring Cycle 2, 4/28/2012. Production by Robert Lepage, conducted by Fabio Luisi with Bryn Terfel (Wotan), Katarina Dalayman (Brünnhilde), Frank van Aken (Siegmund), Eva-Maria Westbroek (Sieglinde), Stephanie Blythe (Fricka), Hans-Peter König (Hunding).

At MIT last week, Peter Gelb said that Robert Lepage intended to “tell the story that Wagner wrote” in his Ring. But what story is that? Lepage seemed to describe it as Icelandic myth, but the sources are actually much more diverse than that. Das Rheingold is largely Icelandic, but much of Die Walküre is based on the Völsungsaga, which is Nordic or Central European, and is a source for the Nibelungenlied, the Germanic source for Götterdämmerung. And that’s a vast simplification.

You might say that doesn’t matter: what matters is what Wagner put together. But this collage of myths, and the instability and “live-ness” of oral transmission is imprinted upon the Ring. Again and again, characters tell us, and themselves, and each other, stories–Loge and Wotan in Rheingold, Wotan in Walküre, and Siegfried in Götterdämmerung are a few of the most prominent examples. These long scenes are often considered dramatic dead zones, but they’re very very important. We learn important new information in each one, the listening characters make decisions, and the characters learn things themselves as they narrate (Wotan realizes why he has to let Siegmund die or Siegfried gradually regaining his memory, for example). The Ring’s story is not linear or even a grid but a shifting, perilous web (the Norns).

That’s why I found Lepage’s conception of the machine as a shifting ground of Iceland symbolically intriguing–but seemingly in a very different way than did Lepage himself. For Lepage, the myths are a return to childlike simplicity, “fantasy,” and picturesque images. Inserting film to illustrate a long and potentially dull narrative passage is a “mixture of media,” but the problem is that it flattens the act of narration itself The video doesn’t “echo” or “magnify” the performer as Lepage suggested, it transforms them from being a subjective, live presence to a neutral voiceover narrator illustrating a story given authority by its visualization.

I think this is one reason why the staging feels so spiritually empty. No one has their own story to tell, nor the imperative to speak it. They are just pawns in the service of a mechanical Machine that will very insistently help them relay their material in a homogenous way–here the most egregious incidents being a film during Siegmund’s biography and a giant eye with shifting images helping us get through Wotan’s Act 2 monologue. Lepage’s Ring seeks to be mythic while operating on terms antithetical to myth.

I’m sorry if my review hooks are getting abstract (abstraction being, in Gelb’s mind, a mortal sin), but it’s becoming pretty difficult to come up with new stuff to say about this thing, and since I now have seen the whole cycle I can consider the big picture a bit.

But I guess we should talk about this Walküre. I have to say that this was the first time the prelude reminded me of this. OK, that was a gratuitous comparison but I think there is some truth to it. The orchestra sounded much refreshed after a messy Makropulos the previous night (probably a different crew). Somewhat to my surprise I liked Luisi’s flowing, lyrical approach to the farewell and Magic Fire, which had a welcome luminosity. But along with the quiet first act came an intelligently-paced but lightweight Todesverkündigung.

Lepage doesn’t have too many ideas of how to use the Machine here–it is essentially a glorified projection screen, though it does flip Brünnhilde (a double who was unconvincing even from the Family Circle) upside down onto her mountain at the end. The rest I think I’ve already covered in my previous piece on this staging, when I saw the HD broadcast.

Out of the disappointment of a Jonas Kaufmann cancellation as Siegmund, the Met pulled off a publicity coup by hiring Frank van Aken as a replacement. Van Aken, you see, is soprano Eva-Maria Westbroek (singing Sieglinde)’s husband. He is perfectly qualified, but evidently had very little rehearsal time and had never sung at the Met before. He showed some signs of being a fine artist with good phrasing and diction and a sensitive characterization (and good rapport with his wife), but it soon became apparent that his voice wasn’t backing him up and he was up against more than he could handle. Luisi kept the orchestra down, but he was still difficult to hear, and sounded congested and wobbly when audible, and a few entrances were early. The Todesverkündigung contained a number of near cracks, one, with tragic irony, on “Helden.”

His death fall–I don’t blame him for this, but I have to describe it because it was kind of hilarious–missed the spotlight by a good four feet and he managed to kick his way stage left before croaking. Good instincts, though I missed that heartbreaking father-son recognition moment that was my favorite bit of the HD last season. The only other major blooper was Wotan’s spear, which made a beeline for the pit at one point but stopped rolling just short. While I’m at this I would also like to suggest to Sieglinde that clutching a large fragment of Nothung around the edges of the blade is not the most convincing thing ever.

I remain a great fan of Bryn Terfel’s Wotan. He can sometimes turn blustery–more Bayreuth Bark than bel canto–but he really sings it when required, and has such dramatic concentration and intensity, and such clarity with the words that the narrative sections are unusually transfixing. He seemed quite on the energetic side of things at this performance, and as far as I’m concerned walked off with the show.

Katarina Dalayman replaced Deborah Voigt as Brünnhilde in this cycle (no photos were available, these show Voigt). She is not quite commanding onstage, and her high notes are screechy and unreliable. But I found much to appreciate in her performance. Her middle voice is substantial and attractive, and while her German diction isn’t the best she still conveys the meaning of the text. And she has a clear dramatic conception of the role, and filled in the pause button moments of the staging with engaging acting. Brünnhilde’s entrance in the Todesverkündigung (yes I will mention this scene a few more times, it’s my favorite) is one of the worst flubs of the cycle: to incredibly ominous and dramatic music, she walks up some escape stairs stage right. But once she arrived, Dalayman made much of Brünnhilde’s conflicted feelings, eventually composing herself into valkyrie mode. She also really listened to Wotan in the monologues.

Eva-Maria Westbroek is a wonderful Sieglinde, with a sincere, natural and passionate stage presence. She can really fill the theater with her voice, which has a beautiful glow to it (though the highest notes can spread). Hans-Peter König luckily has a role in most of these operas, and his imposing bass is perfect for Hunding, though his rather avuncular presence is not. Stephanie Blythe was again a very loud and not very specific Fricka.

The other surprise highlight of the performance was a fantastic bunch of Valkyries, without a single wobble among them, giving the clearest rendition of the Ride that I’ve heard live. I suspect several of them could be great Brünnhildes. The staging of them sliding down the planks of the Machine, however, verges on the embarrassing. As does, to be honest, this entire cycle in a house that aspires to be a home for art.

I’m coming to terms with the fact that should Kaufmann show up for the final performance I’m going to be seeing this again. As for the rest of Cycle 2, I’m skipping Siegfried (almost the same cast as when I saw it in the fall), but I’ll be at Götterdämmerung on Thursday.

PREVIOUSLY in order of appearance:
HD broadcast, Die Walküre
Siegfried prima
Götterdämmerung prima
Cycle 2 Das Rheingold 

All photos © Ken Howard/Met.

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