Siegfried: How It's Done

Or, Remembrance of Rings Past.

Act II of the new Siegfried with Jay Hunter Morris as the hero taking on a Macy's™ balloon.

For those of you on your way to today's 12pm performance of Siegfried (or to the Met Live in HD broadcast) I thought I'd offer up these YouTube nuggets from other productions of the opera.

It's Wagner, the vay it oughta be.

(Oh great. When they scrap the Machine and bring this production back, that'll probably be the slogan. I'll get royalties, which I'll go sleep on in a cave.)

Act I: Part II of the Forging Song. Siegfried Jerusalem in the title role. Heinz Zednik as Mime.

Footage from the telecast directed by Brian Large.

 © 1989 Deutsche Grammophon/The Metropolitan Opera.

Act II: Siegfried's horn-call and the fight with Fafner. (Matti Salminen)

Unlike the new staging, nobody in the audience laughs at the dragon.

Footage from the telecast directed by Brian Large.
 © 1989 Deutsche Grammophon/The Metropolitan Opera.


And finally, 'cos I couldn't find any footage from Act III at the Met, here's a rehearsal of Hildegard Behrens singing Brunnhilde's Awakening, opposite the medium-quality Siegfried of German tenor Reiner Goldberg. He never sang the role in front of an audience, and was replaced for the premiere by veteran tenor Manfred Jung.

This is rehearsal footage from Bayreuth, 1983, with Sir Georg Solti conducting. Enjoy.

"Heil dir, Sonne! Heil dir, Licht! Heil dir Leuchtende Tag!"

Dusting off the Haitink Ring

Signed Photo of Eva Marton as Brunnhilde.
Photo owned by Andrew Howe.

There's been a lot of Wagner and Strauss-related content in the blog lately. These two great German composers number among my favorites, whether for the power of Wagner's mighty orchestral developments or the shimmering diversity of voices that Strauss wrung from the orchestra.

In the interest of continuing our summer program along the same vein, here's a look at Bernard Hairink's underrated version of Wagner's mega-mythological cycle.

When the Haitink Ring hit the market, it faced a lot of stiff competition. Georg Solti and Herbert von Karajan had made classic cycles (in the '60s and '70s, respectfully). James Levine had unleashed his Metropolitan Opera forces on a set of audio and video readings of the four operas. And live recordings from Fürtwangler, Böhm, and Boulez peppered the already-overstocked shelves of the big classical music stores--Tower, HMV and (later) the Virgin Megastore.

All of those are now gone, and the classical music industry has reduced its output to a trickle of CDs and a flood of reissues. So it's time to re-assess Bernard Haitink's durable version of the Ring. Assets of the recording include a fine Siegfried sung by ex-bassoonist Siegfried Jerusalem, tenor-that-never-was Reiner Goldberg as his daddy Siegmund, and Matti Salminen as an impressive Hunding.

Theo Adam, who recorded Wotan for Karl Böhm, here shifts to Alberich. He was much older when this recording was made, but his snarls suit the dwarf. Waltraud Meier is an excellent, bitchy Fricka (only in Walküre) Marjana Lipovsek sings the role in Das Rheingold opposite the Wotan of James Morris. Morris, in turn sounds better on this set than on the Levine cycle. Finally, Götterdämmerung features a superb trio of Gibichungs. Thomas Hampson is an heroic, yet appropriately wimpy Gunther, Cheryl Studer as Gutrune, and John Tomlinson, is in fine, gruff voice as the treacherous Hagen.

Unfortunately, there is one big negative in this set, the stentorian Brunnhilde of Eva Marton. She sings most of the role without inflection, keeping her big, laser-like soprano on full blast even in the most lyrical passages. The decision to have her sing all three phrases of "Heil dir Sonne" (from Siegfried) at full fortissimo destroys Wagner's intentions and robs the Awakening scene of its beauty. However, she gets better in the later pages of Götterdämmerung, particularly the confrontation in Act II and the radiant finale. She is aided by the underrated Munich orchestra, in superb, shimmering form, led by a conductor who appreciates textures and nuances found in the more obscure corners of the score.