Die Walküre ▪ Regents Opera ▪ 23 May 2023

Götterdämmerung ▪ Longborough ▪ 31 May 2023

Das Rheingold ▪ Vienna Staatsoper ▪ 2 June 2023

I recently had the pleasure of experiencing three distinct performances of Wagner operas, each offering its own captivating interpretation. Regents Opera's rendition of Die Walküre, held at the magnificent Freemasons Hall in London, was a testament to the talent of this small opera company. Despite their modest twenty-two-person orchestra, the performance thrived in the round setting, with the audience in close proximity to the singers. While the production had some problematic moments, such as a see-through plastic sword left by Wotan for Siegmund in his hour of need, and a fire extinguisher-wielding Hunding, it was the singers who truly shone and delivered an excellent evening of entertainment. Conductor Ben Woodward skilfully led the small orchestra, creating a sound that defied its size even if understandably missing some of Wagner’s intricacies in the score.

Keel Watson's commanding portrayal of Wotan and Catharine Woodward's beautiful rendition of Brünnhilde, showcased their vocal prowess. Brian Smith Walters and Justine Viani portrayed Siegmund and Sieglinde admirably, while Gerrit Paul Groen's Hunding added a welcomed touch of dramatic intensity. Fricke, portrayed by Ingeborg Novrup Børch, exuded aristocratic grace, and the ensemble of Walküries impressed with their vocal performance and presence. The poignant farewell between Wotan and Brünnhilde in Act III brought this remarkable performance to a rousing conclusion.

Longborough's Götterdämmerung, on the other hand, captivated the audience with its outstanding use of backscreen filming. The continuous video projection by Tim Baxter depicting fire, water, clouds, and mountains, provided a symbolic backdrop to the stage action. The production was intellectually directed by Amy Lane with Rhiannon Newman Brown's stage design and Charles Morgan Jones's atmospheric lighting, which created an immersive experience. However, it was the music and singing that took centre stage, thanks to the exceptional talents of conductor Anthony Negus, renowned for his expertise in Wagner. Despite the forty-piece reduced orchestra, Negus's deep understanding of the score generated tension and dramatic impact throughout.

Julian Close's remarkable portrayal of Hagen exuded menace, while Lee Bisset's compelling Brünnhilde showcased her vocal brilliance, gradually gaining control over her initial wide vibrato. The rest of the cast, including Bradley Daley’s unyielding Siegfried, Benedict Nelson as Gunther, Laure Meloy as Gutrune, and a standout performance by Freddie Tong as Alberich, delivered top-rate performances. Peter Selwyn's direction of the chorus was exemplary, solidifying the opera house's reputation as the Bayreuth of the Cotswolds.

Meanwhile, at the illustrious Vienna Staatsoper, Das Rheingold enthralled the audience with its grandeur. Led by the American bass-baritone Eric Owens as Wotan, the production showcased his aristocratic interpretation of the role, even if lacking some of the expected vocal heft. Michael Laurenz's cunning portrayal of Loge was superbly acted and sung, while Tanja Ariane Baumgartner's intense performance as Fricka left a lasting impression. Regine Hangler's demonstrated her substantial vocal output as Freia demonstrated her substantial singing qualities. Michael Nagy's Alberich and Matthäus Schmidlechner's Mime were riveting in their respective roles, and the Rinemaidens delivered a high-quality sound. The underwater scene was cleverly represented through water backdrop film, and the golden statue with heads and limbs symbolized the gold taken from the Rinemaidens and eventually by the Giants. Directed by Sven-Eric Bechtolf, with Friedrich Zorn's outstanding lighting, the production was visually striking. Music Director Franz Welser-Möst ensured emotional continuity throughout the score, leading the unwavering sound of the orchestra, particularly the powerful strings.

In summary, I had the opportunity to experience three different performances of Wagner operas, each with its own unique elements. Die Walküre by Regents Opera at Freemasons Hall was praised for the singers' excellence, despite some problematic stage moments. Longborough's Götterdämmerung stood out for its effective use of backscreen filming and the quality of music and singing under Anthony Negus's direction. As for Vienna Staatsoper's Das Rheingold, it featured an outstanding performance led by Eric Owens as Wotan, supported by a strong cast and the impressive orchestra under Franz Welser-Möst. These diverse interpretations showcased Wagner's works in different settings and with varying orchestral sizes, all capturing the essence of his music.

David Buchler