Die Frau Under Ground

OK, I admit it. I own multiple, working IPods. I keep one for rock and roll, one for classical and opera, and one that I consider "current listening"--a mishmash of just about everything in my collection that I need to have with me at any place and time.

Recently, I changed headphone brands, ditching my crappy buds in favor of 'phones made by SkullCandy. Their noise-blocking basic buds come with large silicone sound-mufflers that block outside noises better than any other brand of headphones that I have tried. And yes, I like them better than the ultra-expensive (and easily lost) Bose earbuds.

Anyway, with these advanced noise-blockers in my ears, I set aside the Metallica, Rush and Dream Theater (mmm...Dream Theater) for major operas by the two Richards (Strauss and Wagner) and Verdi. I started at the deep (loud) end with Die Frau Ohne Schatten. Opening the Songs list, I cued up the first track and turned Shuffle off. (the opening notes and the scene with the Nurse and the Messenger) I sank into an orchestral oblivion, a swirl of strings and the famous descending "Er wird zu stein!". Awesome. Then, without a moment's notice, my 'Pod quickly switched composers on me--it jumped to the next song alphabetically in the playlist.

The problem was easily solved. I took the three discs of Frau and loaded them onto the "On-The-Go" playlist. You scroll the wheel over the album you want, press the button, hold it down and it loads the whole thing. So now with the opera in the right order, I resumed listening.

It's quite something listening to this gigantic score in the hurly-burly of the subways. All the magnificent orchestral sounds and orchestral detail came roaring forth, sounding absolutely magnificent. In fact, the swelling rush of one hundred and twenty VIenna musicians was a little hard to get used to--the sheer volume and breadth of auditory information made me feel intoxicated--pure sensory overload, Strauss-style.

It's the End of the Ring as we Know It

(...and I feel fine)

A song parody by Paul J. Pelkonen
(based on "It's the End of the World As We Know It (and I feel fine)") by R.E.M., original lyrics by Michael Stipe, plot by Richard Wagner)

That's great it starts when the rope breaks, Norns quake and Erda sleeps on unafraid. Brunnhilde horse-dealin', Siegfried he's free-wheelin', going on to mighty deeds, think he's got a few leads, going down the river Rhine, with horse, (of course) sail against the current on a mighty boat, false note, going to the Gibichung, Gibichung hall! Brother, sister kissing in the castle with Hagen breathing down their neck. He's got a wicked plan with a notion in the potion that'll wipe his brain. Siegfried shows up takes a drink from the cup, slipped a mickey not lime rickey, uh oh blood flow brüderschaft to the raft Hagen serves his own needs find out what in Act Three, thinkin' bout the Nibelung, Nibelung ring. You sons of freedom sail on gladly switch bitch not a hitch in the night Gunther gives a fright!

It's the end of the world as we know it,
It's the end of the world as we know it
It's the end of Act One as we know it, and I feel fine

Wake up Hagen sleepy head, Siggy's back, not dead, Hoi-ho! Cow horn Gunther boat re-turn, sacrifice to the gods, beer drinking, hell-raising, Got the bride eyes are wide don't get on her bad side, marriage problems escalate, world will annihilate, fingers on a spear point, he said, she said, plan a murder what's the motive Uh-oh this means no fear, cavalier, next day with the spear, stab him in the, stab him in the, stab him in the back! Murder by the river death scene takes forever is he dead yet?

It's the end of the world as we know it.
It's the end of the world as we know it.
It's the end of Act Two as we know it and I feel fine.


Brunnhilde by the Rhine build a fire, pyre time.
Hagen commits regicide, Dead man's hand? Nein!, Time for immolation scene, Wotan auf wieder-zeen Burn the castle flood the river, Valhalla boom!
Immolate, annihilate, regenerate. Late? Late!

It's the end of the world as we know it.
(Time for Gö-tter-däm-merung)
It's the end of the world as we know it.
(Let's watch Gö-tter-däm-merung)
It's the end of the world as we know it
(Everybody Gö-tter-däm-merung)
and I feel fine...fine...

The Last Ring: Part III: Götterdämmerung

Richard Wagner: it's all his fault!

On Saturday night, Götterdämmerung proved to be more of a mixed bag. At first, Jon Frederic West sounded harsher and more metallic than in Siegfried. He coped well with the two most difficult moments in this impossible role--the "baritone" scene when he poses as Gunther and the murderous sixthteenth-note octave drop in Act II. However, he summoned his resources and sang beautifully in the death scene. A good Siegfried makes listeners regret his death. Otherwise, you root for Hagen to kill him.

Speaking of Hagen, John Tomlinson had an off night. Unsteady pitch marred Hagen's Watch, and his Act II "Hoi-ho!" was drowned out by the thundering Met orchestra. Iain Peterson was an undistinguished, shallow Gunther. The Met chorus was its usual spectacular self, making a truly intimidating noise and banging their spear-butts on the stage with gusto in Act II.

Happily, any vocal shortcomings were annihilated (couldn't resist) by the gorgeous performance of Linda Watson, who was a thoroughly satisfying Brünnhilde. This is a tough role as well, with the big duet scenes with Siegfried and Waltraute, the scene where she is attacked by "Gunther", and the second act where she becomes a fully human woman, the Wagner equivalent of a betrayed Verdi heroine. Her Immolation scene was riveting, teetering between sexual ecstasy and fanatic devotion to her deceased Siegfried. Top-notch.

James Levine conducted with his customary skill, although one sensed that he was racing through certain passages in order to get to the more lyric ones. The brass, however, suffered from "fish" notes in the horns and the occasional sour note on the trumpet. However, the band rebounded with an excellent Funeral Music and a thrilling Immolation scene.

The Last Ring, Part II: Siegfried

Jon Frederic West as Siegfried.
Photo © 2009 by Beatriz Schiller

Thursday night's performance of Siegfried (the last ever at the Met in this current production) continued what has been a strong Ring Cycle. This Siegfried was anchored by superb orchestral playing, the unforgettable Wanderer of James Morris, and the burly, pouting lad of the title role, sung ably by American heldentenor Jon Frederic West.

West sang well in this most punishing of roles. His voice has a firm metallic bite, and he excels in the soft passages where lyricism is required to probe the psyche of Wagner's titular knucklehead. He evolves from pouting brat to manly hero, throwing himself into the part with abandon. While West is not the next incarnation of Max Lorenz or Lauritz Melchior, he is an able Siegfried.

He was surrounded by an excellent cast, led by Morris' resonant Wanderer. Although the bass-baritone did not seem as comfortable vocally as he did in Walküre, sounding harsh and pinched in the riddle scene and in his confrontation with Erda, this was still a memorable performance, and possibly the great singer's last bow with spear and eye-patch at the Met.

Linda Watson reprised her lyrical Brünnhilde, with gorgeous tone and sweet notes in the very long duet. Robert Brubaker's Mime was an able foil for West, eliciting genuine laughs from the audience. And Richard Paul Fink's Alberich continued to be a highlight of this cycle.