The Ring - Die Walkure review: Beauty and dramatic power superbly realised in Wagner's most emotional and tragic work

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This was published 7 years ago

The Ring - Die Walkure review: Beauty and dramatic power superbly realised in Wagner's most emotional and tragic work

By Barney Zwartz
Updated

OPERA
THE RING: DIE WALKURE ★★★★½
Wagner, Opera Australia
​State Theatre, Arts Centre Melbourne

Die Walkure​, the second opera of Wagner's Ring tetralogy, has some of his biggest moments, including the Ride of the Valkyries and Wotan's "farewell" that ends with Brunnhilde​ surrounded by a ring of fire on stage.

Ride on: The Valkyries fly in during <i>Die Walkure</i>.

Ride on: The Valkyries fly in during Die Walkure.Credit: Jeff Busby

So it is surprising but true that this is also one of his most intimate operas, mostly taken up with one-to-one conversations scored with great beauty and delicacy. Wagner's wife, Cosima​, wrote in 1873 that it was "the most emotional, the most tragic" of all his works.

Its beauty and dramatic power were superbly realised by Opera Australia on Wednesday night, from the first growling double bass bars, thanks to almost every contributor.

The Valkyries have landed: Anna-Louise Cole (Gerhilde), Hyeseoung Kwon (Helmwige), Dominica Matthews (Schwertleite), Roxane Hislop (Rossweisse), Lise Lindstron (Brunnhilde), Nicole Youl (Grimgerde), Amanda Atlas (Siegrune), Olivia Cranwell (Ortlinde) and Sian Pendry (Waltraute).

The Valkyries have landed: Anna-Louise Cole (Gerhilde), Hyeseoung Kwon (Helmwige), Dominica Matthews (Schwertleite), Roxane Hislop (Rossweisse), Lise Lindstron (Brunnhilde), Nicole Youl (Grimgerde), Amanda Atlas (Siegrune), Olivia Cranwell (Ortlinde) and Sian Pendry (Waltraute).Credit: Jeff Busby

Lise Lindstrom as Brunnhilde was a particular delight, with unparalleled clarity, an unforced sound that is pure across the whole range, and real emotional conviction.

The surprise of the night, almost but not quite eclipsing her, was Amber Wagner as Sieglinde: effortless power and volume, totally secure, and a remarkable vocal actress.

James Johnson, as Wotan, made the god affectingly vulnerable with singing of great sensitivity and maturity though he struggled to project at times. His big aria that takes up the last 20 minutes was mesmeric.

Young Australian tenor Bradley Daley was a fine Siegmund with the burnished lower reaches of a true heldentenor, Jacqueline Dark was a regal and at times thrilling Fricka, and Jud Arthur was reliably excellent as Hunding.

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Thrilling: James Johnson (Wotan) and Jacqueline Dark (Fricka).

Thrilling: James Johnson (Wotan) and Jacqueline Dark (Fricka).Credit: Jeff Busby

Conductor Pietari Inkinen​, who stepped in at short notice to lead really well OA's debut Melbourne Ring in 2013, has clearly grown in insight and confidence. His was a measured but infinitely assured performance that allowed the music to breathe and expand, maintaining momentum, and developing remarkable intensity. He was aided by a top class orchestra that played with great clarity and subtlety.

The direction, sets – especially the Act I storm – costumes and lighting were all highly effective, thanks to director Neil Armfield​, set designer Robert Cousins, costume designer Alice Babidge​ and lighting designer Damien Cooper. They are not afraid of bare space, and use it powerfully.

Ring of fire: Lise Lindstrom (Brunnhilde) and James Johnson (Wotan).

Ring of fire: Lise Lindstrom (Brunnhilde) and James Johnson (Wotan).Credit: Jeff Busby

Anyone who signs up for the whole Ring knows he or she is in for a marathon. But it is Wagner's marathon, and it is quite irksome to have it extended by 90 minutes as Wednesday night's production was, attributed to technical problems with the set.

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