Götterdämmerung: Euro crash
Andreas Kriegenburg’s Munich Ring is about society and community. How do people treat each other, how do large groups organize themselves, and how do we tell our own stories? The Ring, he suggests, is about what happens when people stop seeing each other as, well, people, and lose our connection with the natural world. Götterdämmerung is of a piece with this narrative, but in other ways weirdly unrepresentative, specific in its setting and clunky in its narrative where the others had been elegantly abstract. But fortunately this performance had a great cast, most of all Nina Stemme as Brünnhilde and Kriegenburg’s sure hand with the characters didn’t leave him, at least. Is that enough for a whole Ring?
Wagner, Götterdämmerung. Bayerische Staatsoper Ring-Zyklus B, 7/15/2012.
Musikalische Leitung Kent Nagano
Inszenierung Andreas Kriegenburg
Bühne Harald B. Thor
Kostüme Andrea Schraad
Licht Stefan Bolliger
Choreographie Zenta Haerter
Dramaturgie Marion Tiedtke
Olaf A. Schmitt.
Chor Sören Eckhoff
Siegfried Stephen Gould
Gunther Iain Paterson
Hagen Eric Halfvarson
Alberich Wolfgang Koch
Brünnhilde Nina Stemme
Gutrune Anna Gabler
Waltraute Michaela Schuster
Woglinde Eri Nakamura
Wellgunde Angela Brower
Floßhilde Okka von der Damerau
2. Norn Jamie Barton
1. Norn Jill Grove
3. Norn Irmgard Vilsmaier
Dropping the mortals of Götterdämmerung into the world of decadent capitalism is nothing new (I think I may have even saw Peter Konwitschny in the audience). It’s also the logical continuation of the earlier installments—Rheingold’s pagan idyll interrupted, Walküre’s tribal combat, Siegfried’s Bildungsroman. But it is strikingly different in several respects. For one thing this Götterdämmerung is set in a very specific time period with a lot of specific references while the other installments worked with vague suggestion. For another, that time period is our own.
The use of the space is also very different. Instead of the beautifully irregular piles of supernumeraries we have a massive and severe modern edifice, a multilevel bank lobby of metal and glass with moving walkways and various office drones working in the background. One assumes that this is Frankfurt. Nature, in the form of a potted tree, a coat of amour and handy spear, and a Damien Hirst-like horse, is literally kept under glass. The people stare into their cellphones instead of at each other and spend the entire wedding taking pictures rather than watching.
But I’m getting ahead of myself. We open with a great Norn scene that might have been the highlight of the whole evening, theatrically speaking. First we see projected on the proscenium a garbled second of CNN-like news, none of the visuals or sounds decipherable. Then the score starts. In a small, plain room, sit a group of people who apparently are survivors of a nuclear catastrophe. (Terror over the possibility of nuclear disaster is something of a German national pastime.) Rescue workers in protective suits wave Geiger counters at them and confiscate their radioactive family photos. The Norns, in their robed blonde god-wear, weave in between this scene with a ball of red yarn (a play on the German “roter Faden,” literally “red thread” but meaning the through-line or continual thread of a plot). The people aren’t looking at each other, they’re looking at their photos. Their homes, their families, their communities have been lost. This is the closest we will, in fact, get to seeing the Götterdämmerung, right here.
The mountaintop scenes are problematic, taking place in this small barn-like room in the middle of the stage. The giant main multilevel set is too big to shift, and the previous elegant, fast scene changes are no more. The many people onstage file around awkwardly, and later bring in with pieces for the main set, through narrow doors and with little of the grace seen earlier. This clunkiness might be part of the point, thematically speaking, but theatrically it’s a major drawback. Once we’re in the scene it’s alright. Nina Stemme and Stephen Gould are a much more mature-acting couple than Naglestad and Ryan in Siegfried, and “Zu neuen Taten” was, appropriately, more conventionally romantic and less youthfully exuberant, though still directed with a fine sense of detail.
Then we move into the glitzy-sleazy world of the Gibichungs, complete with giant projected ads on the set. The big unit-ish set means that the action departs literal representation much more frequently than it had previously (where we got almost every written stage direction in recognizable fashion), most notably an out-of-nowhere “Zurück vom Ring!”, but Siegfried does row his way over the backs of some capitalist drones. Meanwhile, Gunther gets a blow job, Gutrune is a slutty slut (who may have a dubious relationship with her brother—but since they’re rich moderns this one isn’t romantic), and the chorus appears as identically addressed slaves to the Euro.
Siegfried arrives in olden time clothes and gets redressed (as he does in the similar Konwitschny production) and his first loving vision of Gutrune finds her astride a giant €-shaped rocking horse. Siegfried has traded love for money. This may be just a touch heavy-handed, but the overall concept still kind of works. I get tired of the Capitalists are Evil schtick when we fail to acknowledge that the world of opera is itself firmly enmeshed in this system (less so in Europe than in the US, but I still didn’t see any of the Bay Staats sponsor BMW’s ads being mocked during the Rhine Journey), particularly when the person proffering it offers no substantive Plan B. And Kriegenburg doesn’t. But considering recent financial events, it feels remarkably topical.
Back at chez Brünnhilde, Waltraute displays a variety of nervous twitches suggesting that Valhalla is beginning to resemble an insane asylum of shut-ins. Siegfried straightforwardly arrives in Gunther’s blue suit with the Tarnhelm draped over his face, and almost seems to remember Brünnhuilde and realize what he’s about to do. But he doesn’t, and proceeds. In Act Two, Alberich shows up to find Hagen asleep with some hookers (who he later pays, proving he is not quite as completely evil as previously supposed), and we remember that the dwarf was the first person in the cycle to wear a modern suit, way back in Rheingold when he started enslaving people. Maybe capitalism is his fault? Hagen gets his cell-phone-wielding guys together and the wedding celebrations proceed around a giant Euro sign. Brünnhilde is the only one who seems aware of her surroundings and what is happening, yet is unable to stop it.
Act Three takes place not in the country but in the wreckage of the wedding. It’s here that the concept becomes surprisingly unclear, as previously Kriegenburg has never done something like fail to provide a reason for why Siegfried is talking about a hunt. I’m not saying he needs to all the time but consistency is nice and the production seems to run out of steam at this vital point, while the moment-to-moment Personenregie is still exemplary. The actual conflagration itself is at first treated in very literal manner (with the exception of raining paper suggesting that the era of stories is ending), with a pyre just in the back of the set. During much of Brünnhilde’s heavy-duty singing, Gutrune distractingly tries to tote Gunther’s corpse upstage. Siegfried’s arm-raising to shoo Hagen away from the Ring is treated absolutely straight, but with Siegfried positioned stage center, feet pointing downstage, and with a creepy lighting effect, this most dubious of moments actually felt totally convincing. The rest, though, is debateable. As previously mentioned “Zurück vom Ring!” comes from nowhere, with Hagen panicking stage right over nothing in particular. Flames rise around Brünnhilde, she hands the Ring off to the Rhinemaidens (I think–this was in the upstage corner of the stage I could see less well), and then we are left with the panicky Gutrune. She is surrounded by some of the white-dressed picnickers from Rheingold and Siegfried, who embrace her in an affirmative meditation circle. If we can rediscover each other, we can create a new and more promising world. I think?
Gutrune is an odd character. In this production she starts off as an irritating vamp, but then in her solo scene, maybe one of the weirdest bits of the whole Ring, she transforms into a figure of some stature and possibility. As one of the only characters to survive the thing (THE ONLY of the mortals? I mean, the Rhinemaidens don’t really count?) and also one of the only ones to really grow and change, maybe she’s a logical choice for this gesture. But on the other hand, the Ring is not about poor Gutrune! Brünnhilde and Siegfried are grand, larger-than-life heroes, their love saved the world.
 |
| Waltraute: wrong about the give back the Ring thing |
Except, maybe, it didn’t, because everything is still burning up. Wagner’s ending is tricky, isn’t it? There’s tragedy in the plot and there’s hope in the music, and there’s ambiguity in the actual causes and consequences of the depicted events. Most directors, thankfully, are resistant to putting Fukushima or, if you want to be local, Dachau onstage to be followed by the music’s rebirth and redemption. I’m not sure if that’s something you could manage in a morally acceptable way, even it’s the direction in which the Vorspiel led. But putting Gutrune in the center seems like dodging the issue.
The circle of supers surrounding her encapsulate many of this project’s strengths and weaknesses. They look inward, to a closed system that could just as easily be a circular firing squad. What makes the faceless supernumeraries good, when we have seen that so many of the actual characters in this cycle are bad, even when they remember their human loyalties? To see the main characters so totally stripped of their metaphysical baggage, as people rather than symbols, can be refreshing. But it gives them individuality without symbolic stature, and meanwhile the anonymous masses somehow get to stand in for Universal Goodness. While the cycle creates many beautiful small moments, it tends to come up short in the big ones and leave us with little to hold onto,and the tender signs of humanity become an apologia for the lack of a larger vision. Gutrune may be minor, but there has not been a lot to say why Brünnhilde and Siegfried and Wotan and Fricka and all of them matter more. In the end I found the cycle’s minimalism frustratingly coy. It suggests and provides atmosphere, but despite many intriguing ideas it doesn’t have a strong and consistent connection to the central plot. Maybe that’s the point, that life is an unsolved and undirected puzzle and our only consolation is in each other, but that’s really unsatisfying.
The ideological sign-waving of this final evening felt like an attempt to inject some dramatic weight into something that almost floated away, but it leaves the cycle oddly misshapen. Even without the Euro signs this production would have felt topical. Not only does the army of extras provide employment for a large number of freelance Müncheners, but its austerity is a fitting gesture in the current austere economy where few want to see the German government paying to reinforce the Bay Staats’s stage (even if they are still underwriting the daily business). And it has integrity of a sort: the indictment of bankers would ring far more false had this production not been an obviously low-budget affair. As a bang-for-its-buck enterprise, it exceeds other Rings to an exponential degree. In a confusing time it doesn’t presume to know the future.
But isn’t that the artist’s job, to tell us where we should be going?
***
Now for the music, if you’re still reading or if you are skipping to where I write about how Nina Stemme is the best. She is, in fact, the best. She began somewhat tentatively but was soon letting out phrases of devastating size and power with a bronze, dark tone that is simply big. She is an unusually sympathetic and nuanced actress with clear diction, a great fit for this production, and made Brünnhilde a figure first of real joy and then of tragic rage and despair. The greatest weight of her voice is in the middle, and she has a habit of pausing before firing off her high notes (which are clearly her least favorite part of her range—this role lies very high for her), which tripped her up in phrases like this big one in the trio
But mostly just adds to the thrill. Her immolation found her audibly reaching her vocal limits but just pushing beyond them and never failing to find more somewhere. It’s a very moving effort, the more so because we all know it won’t last forever. I cannot imagine there is a better Brünnhilde today, I certainly haven’t heard one.
Stephen Gould has a weighty sound that matches Stemme’s well, and he makes a good effort musically speaking. His greatest asset is his scrupulous pacing, which left him still singing decently by the end of this very long role. His tone sounded managed, more pinched than usual, and he struggled with the high notes and skipped the “Mut” C entirely, but as Siegfrieds go it was an excellent performance. He is not as vivid an actor as Lance Ryan was in Siegfried but followed the directions ably. I have found him better in less strenuous roles, which is perfectly understandable.
Iain Paterson seems to be the world’s Gunther of choice at the moment. He sings it with great nuance and attention to the text, and in this production a wimpy sort of character (rather different from his more heroic take at the Met—I believe he is the only person who was in both the Munich and Met Rings). Anna Gabler has a round and darkish sound for Gutrune that was an interesting choice but didn’t always project. Eric Halfvorsen was a late replacement as Hagen (he is actually the fourth bass this production has seen in this single role–I guess we know which part of this Ring seems to be cursed) and sounded authoritative if not bone-crushing. His solo scene was appropriately malevolent, though the scene with Wolfgang Koch’s again excellent Alberich was perhaps less tense than usual. The Norns were not tquite first-rate with the exception of the second, Jaime Barton, a voice that would like to hear again and I probably will. The Rhinemaidens were much better and blended very well. It was nice to finally hear the chorus, who made up for three operas of absence by chest-thumping through this one with enthusiasm.
Kent Nagano’s conducting worked in this installment. The pacing can be slack and he seems far too laid-back to make enough of an impression in big pieces like the Funeral March, but like Kriegenburg he found a certain groove. The orchestra had its best night of the cycle and played very well, particularly the strings and lower brass, both of whom have real dense substance to their sound when required. I enjoyed his elegiac, chamber music approach to the Norns’ and Rhinemaiden’s music, and though he could have milked the ending for a bit more the last 30 seconds were exquisite.*
This was in many ways an impressive and beautiful cycle, and one with a remarkably good cast with real dramatic imagination and committment. But modesty may not be a virtue when working with the Ring, and Nagano and Kriegenburg could have both stood to show a little more vision, however lovely their miniatures were. While Kriegenburg took small-scale stage directions directly, he showed little interest in the larger trajectory of the characters, nor did he create one of his own that incorporated them in a convincing way. I’m willing to believe that our fascination with technology is a gateway to the Apocalypse, but I wish I had a better idea of what Siegfried had to do with it.
***
*One unsung hero of this cycle is the curtain-puller (so to speak). Every sing act has ended with a curtain of absolutely impeccable timing and perfect speed. This is NOT an easy job. I also want to thank the audience for taking a nice few breaths of silence at the end before clapping. Maybe community isn’t dead after all!
Photos copyright Wilfred Hösl
More photos:
Die Frau ohne Schatten at the Salzburg Festival
I went to Die Frau ohne Schatten in Salzburg, and I wrote about it for Bachtrack.
This year’s festival brings a third complete Frau
to Salzburg, conducted by Christian Thielemann and directed by Christof
Loy. The Wiener Philharmoniker, the orchestra of the premiere, is in
the pit, and they and Thielemann were unquestionably the highlight of
this performance.
You can read the rest here. A few more comments and more pictures right ahead.
First of all, the PR made out like Christof Loy based his production off a historical event–a recording in the legendary Sofiensaal–but that recording took place in the Musikverein. Details, details.
I was excited to see a big new production of Die Frau ohne Schatten, because of the music but also because it’s both a very difficult work to stage and one that presents a lot of opportunities for cool stuff. As the woman sitting behind me said, in English, “they have this fantastic production in LA, when the Empress talks about fish, there are the fish!” Well, maybe that’s not quite what I was thinking of. Actually this opera has a lot of problems, like how women’s sole purpose in life is baby-making and if they do not devote their full attentions to baby-making they are BAD. Director Loy even points out that this should not fly today in his program book interview. I agree! But I don’t think his solution of simply declining to stage most of the opera in favor of yet another theater-in-theater setting is any kind of solution at all. He doesn’t even seem interested in the piece, and there’s nothing really to make us interested in it. I found this vaguely offensive, like he had just refused to do the job which he had been assigned.
But the music was, indeed, fantastic.
When is Herheim going to get around to directing this one? Just a suggestion, opera houses of the world.
More pictures:
 |
| Theater-in-theater business (Empress) |
 |
| Don’t ask. I can’t explain. (Dyer’s Wife) |
 |
| Business |
 |
| The score DID sound vaguely Elektra-like upon the axe’s first appearance. |
 |
| Michaela Schuster makes the awesomest facial expressions. |
 |
| There is perhaps something interesting being said in this stage image, but what it is beats me. |
Photos copyright Monika Rittershaus/Salzburg Festival
Siegfried: Have sword, will travel
Maybe the Wiener Staatsoper as a secret plan. Each installment of the Ring has been better than the last. At last night’s Siegfried, the orchestra was finally sounding good and there was some remarkable singing as well, namely in Energizer Bunny Heldentenor Stephen Gould’s assumption of the title role. On the other hand, the production continued to suck and there was some painfully bad singing as well, so it was probably just your usual Staatsoper mishmash.
Wagner, Siegfried. Wiener Staatsoper, 4/10/2011. Production by Sven-Eric Bechtolf, conducted by Adam Fischer with Stephen Gould (Siegfried), Eva Johansson (Brünnhilde), Juha Uusitalo (Der Wanderer), Tomasz Konieczny (Alberich), Wolfgang Schmidt (Mime), Ain Anger (Fafner), Anna Larsson (Erda), Ileana Tonca (Stimme des Waldvogels)
No corners escape uncut in Sven-Eric Bechtolf’s production. The look for this installment is more explicitly modern than the earlier ones, but no more profound. The Ring contains many set pieces that have to make, in some way, an impression that lives up to the music. In Bechtolf’s production, every one of these is an empty anticlimax. I do not mean to imply that budget correlates with staging quality, resourceful directors can do a lot with little money and infinite sums only abet the bad ones. Here, it is irrelevant whether it was a paucity of Euros or of vision that led to such clumsy use of video, trapdoors, and simply vacant spaces, but the production feels dashed off and sketched in. It continues to be the Seinfeld of Rings–about nothing–only with fewer jokes.
We open in a very large forging room with many small tables in front of a looming brick wall (pictured below). In Act 2 this wall is crawling with stuffed deer and other animals (echoing the horse statues of Walküre to no clear symbolic effect), and in Act 3 is replaced with a giant glass wall. The final scene’s backdrop is the brick wall tilted backwards. Siegfried’s fight with the dragon is carried out entirely on video, involving a giant lizard eye (pictured above), and is very cheesy. Siegfried’s bear in the opening is also a giant projection silhouette. That’s about all I got because much of it has already drained from my head.
Blocking remains action-packed but devoid of interest, though there were some awkward moments in this one as well, including Mime recognizing Wotan as soon as he came in (which maybe could have been made to work but he then recognized him again in the usual spot), Alberich having some sort of seizure, and various other large physical actions that have to be carried off with aplomb to not look silly, and did not work here.
Musically speaking this Ring is not one for the history books, but it is becoming one worth hearing. The orchestra seemed to be trying to live up to their name last night, and much of the playing was characterful, expressive, and clear despite minor ensemble problems. Adam Fischer paced things well and the balance was for the most part good. I would appreciate a stronger interpretive hand but that is too much to ask from an Einspringer. It’s a funny thing about the Staatsoper: at first the orchestra’s sheer sound is so good that you just overlook the sloppiness. But once you get used to them you hear the untidiness and uneveness that often lurks beneath the golden tone and blending. How much this bothers you is a personal thing. When they try and when they rehearse, they can reach amazing heights, but they often don’t seem to put in much of an effort and, considering the Staatsoper’s schedule, are sight-reading. This was respectable.
Stephen Gould was the hero the evening as Siegfried. His baritonal Heldentenor does not have a great deal of tonal allure but he hit all the notes with a power that just wouldn’t quit. You may hear more thrilling renditions of the Forging Song but never before have I heard a Siegfried who I didn’t worry for at some point or another. Gould always seemed in control. This may not seem like high praise but in this role it actually is. To this he added an engaging, energetic performance with good attention to the text (despite some pronunciation errors) and humor. He will be singing this role at the Met next year; he is a fine choice. Perhaps the Met can find him a Nothung that doesn’t have a giant bend in it.
The other mostly good news: Ain Anger’s Fafner remained offstage until after the fight, present only in cheesy video, but he made up for his lack of physical presence and relatively lyric (though very beautiful) voice by having a consonant party with his music. He made you believe that offstage somewhere he was probably twirling his mustache. Anna Larsson brought resonance and power to Erda, this time with legs, wrapped in a giant white sheet. Juha Uusitalo’s Wanderer was underwhelming but not actively bad, and Tomasz Konieczny’s Alberich continues to have a metallic power, despite more weird dance moves.
Now for the bad news: Wolfgang Schmidt deputized for Herwig Peccararo as Mime, and I really have to wonder why the Staatsoper hired him. Surely there was time to find someone in Budapest or Prague or anywhere in Germany who could actually sing the role? My erudite companion accurately pinned his vocal stylings as those of DDR hero Ernst Busch while I thought of Kermit the Frog (yes, I’m cultured!). Either way, this was painfully nasal Sprechstimme and while he was occasionally kind of funny, having to listen to that for that long is agony. Though considering his dress in a white Bedazzled jumpsuit, leopardskin coat, knit cap, and aviator goggles, perhaps tackiness is appropriate. (I am very sorry there are no pictures, but, no, you should probably be grateful for that.)
Is this the first time Siegfried has outsung Brünnhilde in the final scene? Gould managed it amazingly well, and Eva Johansson’s Brünnhilde played a poor game of darts with her pitch and remained wobbly and shrill. After emerging from a sequined white cocoon dressed in yet more metallic taffeta, I kind of wished she would go to sleep again. She does not make me look forward to Götterdämmerung.
Speaking of Götterdämmerung, it is Wednesday and at least according to the Staatsoper’s website right now will be conducted by music director Welser-Möst as originally planned.
Photos copyright Wiener Staatsoper.
Der fliegende Holländer: Red scare
I would put last night’s Der fliegende Holländer into the third quintile of Wiener Staatsoper revivals. Christine Mielitz’s production has been sketchily and statically staged and was plagued with technical calamities, but it’s still interesting. Peter Schneider’s conducting was reasonably exciting and Adrianne Pieczonka’s Senta and Stephen Gould’s Erik are both good. And none of the rest is that bad.
“Richard Wagner, Der fliegende Holländer, romantic opera in three acts by Richard Wagner [sic, that’s what it says in the program–except in German].” Wiener Staatsoper, 2/12/2011. Production by Christine Mieilitz (revival) conducted by Peter Schneider with Albert Dohmen (Dutchman), Adrianne Pieczonka (Senta), Stephen Gould (Erik), Walter Fink (Daland).
This production was one of the more controversial efforts of the Staatsoper’s verfliegende Holender, former intendant Ioan Holender. Vienna gets its panties in a twist easily; this is not exactly high-level provocation.
Mielitz’s work here is interesting, but in this revival it came across as scattered. As is the norm for Staatsoper revivals, the direction of the singers was non-existent, the production reduced to the visual elements and a few static stage images. The numerous technical issues–mistimed (I think) lighting cues, creaky set changes, stuck curtains–didn’t help either. I want to be generous, because who knows what resemblance this performance bore to her original vision. I know I say something to this effect in almost review I write of rep performances, but it really bears remembering.
Some technical frailty was understandable, because Stefan Mayer’s set is complex (and not easy to make out in either of these photos, both of which are from the beginning of Act 2). A boat-like curved floor is contained in a bourgeois room, with a moving ramp, various appearing and disappearing walkways, and a catwalk above where Daland apparently keeps his birds (in cages). The red sails of the Dutchman’s ship approach from upstage center. It owes something to Harry Kupfer’s Bayreuth Holländer. The dress is ambiguous twentieth-century.
Daland and the society of the village are good capitalists (Daland reads the Financial Times), while the Dutchman and his crew are outcast radicals who dress like Goths circa 1991 in long leather trenchcoats with red bits. Senta longs to escape the strictures of bourgeois life (also the rapey drunken sailors), where she is nothing more than a commodity to her wealth-seeking father. The portrait she fixates on depicts not the Dutchman but a quartet of revolutionaries–Marx, Engels, Che, and one I couldn’t identify. Ha, that’s what kind of red those sails are. The world of the Dutchman is dark, lit by bits of yellow and red light, the bourgeois world is bright (though the switches between the two were awkwardly executed). Erik seems to represent a middle ground between the two worlds, as indicated by his brown leather jacket. I think. Maybe you see why this concept was a little unclear.
Mielitz’s most controversial gesture (judging by standing line gossip) is staging Senta’s death not as the usual jump into the sea but rather as a Brünnhilde-style immolation. This departure from the world of sea and water is unfortunate, but the redemption by fire thing is apt, no? The production takes Senta very seriously, and this is a more dramatic way of going out.
Peter Schneider conducted with the kind of energy and excitement that makes some reference to sea foam necessary. There wasn’t a lot of nuance but it was competent, effective, and that’s not bad. The brass overpowered the strings at times, particularly at the start of the overture, and the timing at the end of the development didn’t come off quite right, but in general the orchestra sounded good. The cast was respectable if not electrifying. Albert Dohmen was a passable Dutchman, certainly more imposing than Juha Uusitalo at the Met last April. He is loud and declaims effectively, but the sound is harsh, dull and lacks resonance, as well as genuine stage presence or a unique take on the character. Adrianne Pieczonka’s clear, feminine soprano (more a big lyric sound than a dramatic) is a good fit for Senta, and her accuracy and musicality are always appreciated. She acts well enough.
This was my second time hearing Met Siegfried-to-be Stephen Gould, and the second time as Erik. Fortunately he impressed me much more this time than he did at the Met last April. He’s got a big, somewhat unwieldy Heldentenor (with a dull spot around the top of his range), but the tone is genuinely heroic and he did his best to sing the music with finesse and Textdeutlichkeit. And he was a considerably more engaging actor than I remembered. He is also singing Siegfried in Vienna’s Ring this April, and now I am looking forward to hearing him in a bigger role.
Supporting characters were the usual Staatsoper crowd, including Walter Fink as an unfocused and underpowered Daland and Norbert Ernst as an ardent, somewhat pushed Steuermann. The male chorus really sold their music, sounding hearty to an almost absurd HMS Pinafore chest-thumping degree. I did wonder about the male choral division; perhaps due to the set design the Dutchman’s chorus sounded wimpy in comparison to Daland’s.
Short ovation at the end, loudest for Pieczonka and Gould, lukewarm for Dohmen. Not amazing, but a step up from the Met’s effort last spring.
Four performances remain, February 15, 18, 22, and 25.
Bows–you can almost make out Senta’s portraits at the top of the first photo:
Performance photos copyright Wiener Staatsoper, bows photos my own.