Brünnhilde - Petra Lang
Alberich - Shimamura Takeo
Gunther - Anton Keremidtchiev
Hagen - Albert Pesendorfer
Gutrune - Ando Fumiko
Waltraute - Waltraud Meier
Woglinde - Masuda Noriko
Wellgunde - Kanoh Etsuko
Flosshilde - Tamura Yukie
Erste Norn - Takemoto Setsuko
Zweite Norn - Ikeda Kaori
Dritte Norn - Hashizume Yuka
New National Theatre Chorus
Yomiuri Nippon Symphony Orchestra
Iimori Taijiro (Conductor)
Götz Friedrich (Director)
New National Theatre Tokyo chose to revive Götz Friedrich's production originally for the Finnish Opera, his third after the Deutsche Oper Berlin one, for its ongoing ring instalments. Instead of the tunnel set and mythical approach in dramaturgy, this stage set looked more contemporary and the conceptual idea provided more answers than the Berlin one. Opening scene saw the Norns weaving the long rope of destiny in red on a black triangular raised platform with a red moon in the backdrop. There were standing poles alike needles stood around the ground. This formation became the stage bases for the drama to unfold until the final destruction. Interestingly, Brünnhilde entered midway when the Norns recalled the magic fire that Wotan placed to protect her. At first she was puzzled by the trio disappeared in haste after the breaking of the thread. Though one suspect that she gained the vision that what happen next deter by her action even not knowing what would come after. At the sunrise scene, Siegfried entered by wielding Notung in his workman outfit before hugging Brünnhilde. The couple was more passionately about each other than the Berlin staging, and again Siegfried was shown to continue his adventure than staying alongside with Brünnhilde.
Siegfried's Rhine journey saw neon lights in long blue glass tubes moved vertically on stage, yet Hagen already observed Siegfried from the front. Friederich retained the magnifying glass panels for the hall of Gibichungs as he saw it was as a spying game between the characters. Günther and Gutrune still shared siblings' affection for each other, but this time the latter was easily subdued by Hagen even she was afraid of him. Siegfried again wielding Notung at his arrival which put off Günther but not Hagen, who was more approachable to receive hero as a naive warrior. Siegfried's face changed into white after consuming the love potion prepared by Gutrune, and the warm stage lights changed into an eerie setting. Though that did not dampen Siegfried's spirit when he cut deep of the arm for swearing blood brotherhood with Günther. Lightnings awoke Brünnhilde as Waltraute approached the rock to bag her by giving up with ring to save the gods. Each was eager to express the self condition but negotiation did not meet. Siegfried's disguise to steal the ring was rather symbolic but also demonstrating his will to command the ring was stronger than Brünnhilde. After all, he took the ring by force and Brünnhilde only received it as a gift.
An eerie set up inside Gibichungs hall started the second act, and saw Alberich as an elderly dwarf lurking around to persuade the dreamy Hagen to take the ring back from Siegfried. Spears lined up on sides that gave the militant outlook at the wedding scene, but less Teutonic in compare to the Berlin staging and without torches. Brünnhilde hugged Siegfried at first, but she was shocked when he did not recognise her and eventually raged when she saw he had the ring. Siegfried became the guilty party under accusations yet the Gibichungs, like Gutrune, were not shock by the misunderstanding. There were not much love towards their guests and probably a prey after all to everyone's knowledge. After Siegfried departed with the party, the remaining three gave a rather conventional declaration by facing at the audience to plot the murder of Siegfried. When the wedding ceremony finally took place, Brünnhilde again refused Siegfried's hand and gave a stern look at Hagen that hinting the motion was already in place.
Neon lights in blue glass tubes returned at the beginning of act three and saw the rhinemaidens in leather outfits. They attempted to subdue Siegfried with their erotic outlook by showing flash but to no result. Then Gibichungs hunting party used torches flashing at Siegfried prior to the murder, and the huntsmen all seems to know what would happen next as in the Berlin ring. Siegfried murdered by Hagen symbolically by the spear stabbed from behind, and Günther left the scene in dismay but no funeral possession was formed instead. Instead, the black triangular platform transformed into a funeral pyre, and Brünnhilde already saw the dead body before the scene returned to Gibichungs hall. The red thread was also shortened in length and symbolised what did not foretell by the Norns was fast approaching. Gutrune screamed as Hagen showed her Siegfried's dead body, but reacted hesitantly when Günther was murder in front of her, neither did the rest of Gibichungs. The weak leader was probably not love after all but Hagen himself that they turned to.
Siegfried's raised his right arm with the ring on when Brünnhilde reappeared for the immolation scene. Frederich still saw Hagen did not proceed to fight for the ring but looked from afar in stillness. Torches were brought in as the bodies of Siegfried and Günther were finally brought away. The background projection grew in red to signify the growing flame. Gibichungs panic as the hall columns collapsed and ground opened for a spectacular theatrical display of stage machinery. Here Frederich concluded the ring differently from Berlin with Hagen being dragged by the Rhinemaidens into ground. Brünnhilde reappeared after hiding under cloth to frighten Alberich away, who came to search for the ring again, and herself survived at the end. There were no Greek theatre by reconnecting to the start of Rheingold but a forward looking development that a new chapter had begun.
Casting for the four lead roles met equally on vocal technique and projection. Petra Lang was at her best as Brünnhilde during the visit of Waltraute and in the dramatic second act. The sheer emotions and vocal energy she delivered from time to time made an astounding impression. Though not often consistent by a sloppy start that her singing being under weight and a rather covered way in her diction. She couldn't sustain the line at the climax of the sunrise scene and lower notes often too soft to be heard. When singing in forte then she was more able to project more, and carried the momentum as she displayed Brünnhilde's revenge on Siegfried brilliantly. Her voice could be full and rich if she did not muddle the vowels for a dark tone colour. Stephen Gould made a confident start and secured his singing by nailing those high notes accurately. Diction was on the bright side and he could manage both dramatic and lyric singing style. Whether to do with tiredness or trying to save his voice for act three, vocally he was less energetic in act two and the singing faded a bit compare to his colleague. Nevertheless, he recovered for act three and able to switch from the heroic mode to a highly moving end as Siegfried recalled his tender affection for Brünnhilde for the last time.
Albert Pesendorfer had both the cunning appearance and timbre for Hagen. Yet he never aggressive neither go nasal in his singing. He had a rich and full vocal body that carried the command impression and phrased the words skilfully. Like Gould, he also switched his tone colours to be suitable for the scene atmospherically. His partner in crime, Anton Keremidtchiev, sang comfortably with the tessitura of Günther. He was the only singer that consistently had the vocal weight to penetrate through the thick orchestral accompaniment and very clear on his diction. His portrayal of Günther also realised the indecisive and self conflict character, who was afraid to take on the responsibility as a leader. Ando Fumiko was relatively thin in vocal body as Gutrune and took some time to warm up her voice. Her characterisation seems lacked a definite impression but a subordinate role. Her diction was also weak with vowels only could be heard but not the consonants.
Waltraud Meier continued to fade vocally that often not able to sustain the line neither had the weight. During the sisters' quarrel she was noticeably not able to match Petra Lang's response. Though at the least the tuning was still mainly in place and made a great crescendo before Waltraute left the scene in haste. The home grown Alberich, Shimamura Takeo, had the colour for the part but mixed results with his diction. He put the effort in articulating the consonants but some of the pronunciation did not sound German at all. Trio for Rhinemaidens blended more together than the Norns, though the latter had more exposed solo moments. Both diction and volume from the male chorus were impressive and gave the dramatic excitement by their singing. They helped the orchestra to coordinate the tempo transitions especially in act two that was more fluid in their playing.
The problem though lied on the elderly conductor Iimori Taijiro, who was not very clear with his conducting and sometimes even followed the orchestra than leading it. Some grand musical moments like Siegfried's death march and immolation scene being dragged to some unnecessary broad tempo. It gave a rather vertical reading of the music than generating the momentum to drive the music forward. Brass had some up and down moments that it could be magnificently by playing loudly, but uncertain when the dynamic was soft. The orchestra probably did not find Taijiro being helpful when he sometimes over conducted, and waving the baton to paint the movement than showing the rhythmic patterns. Winds' entries particularly were not always tidy and the orchestral playing from time to time sounded on auto mode. Prompter and back stage conductors should be credited for keeping the singers with the orchestra together. I should also mention that the hall acoustic of the national theatre was good with the warmth and balance, but the seat was not comfortable to sit for long duration.
(Photo credit: New National Theatre Tokyo Facebook page)
Waltraud Meier continued to fade vocally that often not able to sustain the line neither had the weight. During the sisters' quarrel she was noticeably not able to match Petra Lang's response. Though at the least the tuning was still mainly in place and made a great crescendo before Waltraute left the scene in haste. The home grown Alberich, Shimamura Takeo, had the colour for the part but mixed results with his diction. He put the effort in articulating the consonants but some of the pronunciation did not sound German at all. Trio for Rhinemaidens blended more together than the Norns, though the latter had more exposed solo moments. Both diction and volume from the male chorus were impressive and gave the dramatic excitement by their singing. They helped the orchestra to coordinate the tempo transitions especially in act two that was more fluid in their playing.
(Photo credit: New National Theatre Tokyo Facebook page)
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