Despite being a consensus choice as one of opera’s three greatest composers, Richard Wagner has had only one of his works staged by Minnesota Opera over the course of its 53-year history. But who could blame the company’s powers-that-be? Wagner operas ask a whole lot of everybody, including audiences. Most are four to five hours in length, and his magnum opus, the four-opera cycle, “Der Ring des Nibelungen,” requires four nights and about 16 hours of sitting.
With that in mind, it doesn’t seem to be asking too much of audiences for Minnesota Opera’s first stab at a slice of “The Ring” that they should stay in their seats for an intermission-less two hours and 35 minutes. Its production of the cycle’s opening opera, “Das Rheingold,” remains engaging throughout, thanks to extremely well-executed music from singers and orchestra, some strong characterizations, and a clever design that borrows equally from ancient mythology and the steampunk aesthetic.
Such the iconoclast was Wagner that it makes perfect sense to have a production of one of his works defy all sorts of standard expectations for a night at the opera. So why not have the orchestra onstage and a lot of action taking place where you’d customarily find the orchestra pit? After all, Wagner’s orchestral interludes provide much of the best music in his operas, so why not give the orchestra pride of place? And have the dwarves and giants who represent humanity dressed like goggle-clad WWI aviators or aqualung-sporting deep sea divers? Why not?
It all works fine for a fantastical tale about the consequences of greed, tyranny and stiffing building contractors. The titular gold of the Rhine River is the catalyst for the opera’s action, a magical booty that’s stolen, smithed, confiscated and used as currency while inspiring oppression and murder. Humans use it to gain power and gods crave it to get, well, more power.
With such dark goings-on, it may be unsurprising that there are no real heroes on hand. Hence, the tenors and sopranos who normally get the starring roles in operas are pushed to the periphery by baritones and basses who rattle the floor boards in customarily villainous voice ranges. The lone exception is tenor Richard Cox, who sings the role of trickster Loge splendidly but has such a melodramatic manner that he seems to have dropped in from some vintage silent cinema.
A far more natural approach is found elsewhere in the cast, and it works especially well for Nathan Berg’s Alberich. As the dwarf who drives the story with his lust, greed and spite, Berg is complex, believable and of magnificent voice. So passionate is his portrayal that the usually scene-stealing Greer Grimsley is left to look on and exude nobility as his rival for the gold, the god Wotan. Completing a memorable quartet of deep-voiced characters are Jeremy Galyon and Julian Close as the giants Fasolt and Fafner, who are trying to extract payment from Wotan after having built his castle. But the men don’t get all the best arias, for Denyce Graves emerges late with a powerful turn as the goddess Erda.
Yet the highest praise should be reserved for those given the tallest task: conductor Michael Christie and the orchestra. From the hypnotic, slow-building opening to the final triumphal entry into Valhalla, they offer non-stop transportation to a magical world. As well-executed solos and beautifully balanced ensemble work arrive in one scene after another, it becomes clear that their place at center stage is appropriate, for they’re truly the stars of this show.
IF YOU GO
What: Minnesota Opera’s “Das Rheingold”
When: 7:30 p.m. Tuesday, Thursday and Saturday, 2 p.m. Sunday
Where: Ordway Music Theater, 345 Washington St., St. Paul
Tickets: $200-$25, available at 612-333-6669 or mnopera.org
Capsule: Musical magic well worth the wait … and the sit.
