Daniel Brenna (Siegfried)
Shenyang (Gunther)
Eric Halfvarson (Hagen)
Michelle DeYoung (Waltraute)
Amanda Majeski (Gutrune)
Peter Kálmán (Alberich)
Eri Nakamura, Aurhelia Varak, Hermine Haselböck (the Rhinemaidens)
Sarah Castle, Stephanie Houtzeel, Jenufa Gleich (the Norns)
Hong Kong Philharmonic Chorus
Bamberg Symphony Chorus
State Choir Latvija
Hong Kong Philharmonic Orchestra
Jaap van Zweden (conductor)
The philharmonic orchestra ring cycle project since 2015 finally reached its finale. In between I saw other ring cycles in Melbourne and Berlin, but theatrical experience was different from the setting as a concert presentation. Since there was no staging, the audio appreciation became the focus inevitably. Yet one could not ignore the ideology, philosophy and symbolism, and the contemporary relevancy. Like Rheingold, the theme of cunning plans, lies, greed and violence was revisited extensively in Götterdämmerung. Despite the solution to end all woes was already known at the beginning, which to give up the ring and return to the rhinemaidens. It was not until Brünnhilde made the unexpected move by sacrificing herself, which put an end to the old establishment.
To stay true and honest seems more difficult than exercising self interest, selfishness and manipulation. Such paradox still happens in our society, and never fail to amaze us of how much excuse one can deploy to legitimise mistakes. Though it is too simplistic to make Hagen solely as an example of evilness, who was also a by-product of Alberich and inherited that loveless power driven desire. Siegfried too failed to be a total hero as he did not realise the bigger picture, also stubborn enough not to give up the ring at the advice of rhinemaidens and warned him that death looming. Neither the ring nor the tarnheim brought the promised power and protection, instead those desired or possessed the two items brought themselves to destruction. Yet unorthodox partnerships and father-daughter reconciliation sometimes broke off the cruel world by celebrating the power of love and humanity, which gave us hopes that the world could change for a better future. The ring told a painful lesson, but only until Die Meistersinger and Parsifal that Wagner suggested for social transformation only through arts and ideological transformation would succeed.
Musically this performance of Götterdämmerung had successfully delivered the full package. Arguably the best display of the entire cycle and also most satisfying concert experience of the current season so far. The vocal line up were more pleasant for the ears than previous instalments, and technically outstanding that exceeded the expectation. Although the work was lengthy in duration, the orchestra never lose shape under the baton of Jaap van Zweden and every line being phrased meaningfully. It was also worth breaking the bank to augment the choir with reinforcements from abroad. Despite lacking a sonic depth and could have accented more on the chords, a polished and majestic orchestral entry was given at the prologue. Sarah Castle, the first Norn, sang poetically and injected much colour to her diction, yet the lower register seems slightly soft for the vast acoustic. Stephanie Houtzeel, in the role of second Norn, improved her diction and tuning as her voice warmed up. As she sang the passage that described Loge's involvement and fate, her singing tone was richer and gave a colourful painting of the text. The third Norn had the highest vocal range of the three and texturally more fluid. Though Jenufa Gleich would need to articulate consonants more to improve her diction and flexibility in switching registers.
The orchestra kept the momentum forward and responsive to the thematic transitions between the breaking of the thread and the sunrise scene. The devastation was felt with sheer intensity and urgency as the thread broke, followed by a still and mysterious passage on the cellos that depicted the break of dawn, and reached the climatic exultation of passionate love and sunrise brilliancy as the tutti excitement culminated in full. Gun-Brit Barkmin debut as Brünnhilde surprised me by her rich mezzo soprano timbre and still could reach the rather higher vocal range. She was steady with tempo at first and carefully phrased the lines. As she warmed up, her singing became more relaxed and opened up that enhanced the clarity in diction. Daniel Brenna, who already several stage experience as Siegfried, carried more space and warmth in tone, also acting out the role for interaction. His timbre made a pleasant impression of his line but vocal weight slightly light for the hall acoustic. He too was cautious with the words and the register changes. The pair maintained the passionate exuberance, and showed no sign of vocal strain to reach the climatic top notes. The thickened strings' layers during Siegfried's Rhine journey was rhythmically energetic and excited, but slips were audible from the horn solo. It all built into a majestic and polished tutti bold moment with dynamic contrast, but could swing more to lighten up the thick texture.
The orchestral introduction of Gibichung Hall was less eerie and dense than expected. Shenyang's Gunther felt very commanding than a puppet by his confident singing, whereas Eric Halfvarson's dense and rich bass tone recalled Fafner than the cunning Hagen. Both made the impression that they were in command of the situation even before Siegfried's arrival, which added the chilling weight as the assassination plot gradually unfolded. As Gutrune, Amanda Majeski had the right timbre for the role and stayed fluid in her singing despite tuning on high register not that secured. At Siegfried's entrance, the brass produced a crushing chord that seems marking the beginning of the end for the hero. Yet at the description of treasures that Siegfried had, Halfvarson lacked the urgency in portraying Hagen's underlying desire and some stage realisation would have given some visual context. The orchestra again responded vividly to the emotional changes as Siegfried took the potion that Gutrune had prepared. Brenna and Shenyang too delivered a dramatic interaction on the adventure to Brünnhilde's rock, and marked the swearing of brotherhood more daunting as what to follow. The brass ably produced the youthful excitement yet could have loosen up more to unleash the wildness. In contrast, the orchestral playing could be more chilling and bleak as Hagen narrated his cunning plan alone. Instead the lower brass created the atmospheric heaviness of curse by its tragic and gloomy tone colour.
The tender love theme in reintroducing Brünnhilde on the rock was short-lived, but horns were muddy at announcing the arrival of Waltraute. Barkmin interpreted the sisters' reunion as an emotional charge with a dramatic reception, while Zweden drove the orchestra to celebrate the joy of recalling the past. As always, Michelle DeYoung phrased the music poetically with very clear text and her voice filled the space effortlessly. Her narration of the fall of ash tree and Wotan's preparation for final destruction realised the varied emotions of horror and sadness. Here Barkmin carried more warmth in the her lower register and clear with her diction. She also effectively conveyed the ebbs and flows of emotional response with colourful contrast in the words. Upon Siegfried's return, the orchestral transition was warlike and tense in opposite to Brünnhilde in rapture. Though disguised Siegfried in tarnheim and confrontation between the pair would be more vivid with stage actions than solely relied on music narration. Instead the orchestra gave an eerie accompaniment as Brünnhilde was devastated by the betrayal and cried in horror.
Instead of an eerie dreamy impression, the orchestral introduction of act two carried more warmth than expected. Visually Peter Kálmán made a youthful Alberich compared to Halfvarson's Hagen, yet his baritone like timbre lacked the same resonance and richness. Though the portrayal was accurate as Alberich was eager on retrieving the ring, whereas Hagen stayed dreamy and uninterested to his father's urge. The bass clarinetist gave a subtle and smooth account of Hagen's awakening, but Siegfried's return seems slightly soft in presence on the orchestra part. Perhaps the intention was to leave room for the war like summon as Hagen sounded the alarm, in turn the combined male chorus thundered with a wall of sound. It gave the much desired dramatic intensity and the choral singing stayed bright and ringing. Gunther's announcement of the marriages was clear and definite, whereas Barkmin portrayed herself as an emotional Brünnhilde, who questioned the confused Siegfried and raged over the betrayal. Her vocal entries carried the urgency and furious impression, which was achieved by colourful word painting that conveyed the emotions. The orchestral underlay responded along by some raw playing on the strings, and increasingly violent as the misunderstanding and hostility deepened. The chorus also gave a bombastic questioning over the confusion and sounded very big in body. As the assassination plot was drawn up, the orchestra gave a devastating and dramatic finish.
The horns gave a blazing account of Siegfried's hunting calls that began the last act. Again the orchestra was able to intertwine between the witty playful part of the rhinemaidens and the chromatic recalling of curse and destruction. The three sopranos as rhinemaidens blended well together with a lot of active vocal energy on high tessitura passages. They drove the momentum forward with great intensity, which was in contrast to Brenna rather fluid and light timbre. It made a contrasting portrayal of the rhinemaidens being very noisy in their complains against Siegfried's disbelief of their warnings and his arrogance. Later when Siegfried recalled his past memory at Hagen's suggestion, Brenna gave a colourful account of his part. Yet he began to struggle in sustaining the legato at the thematic imitation of the woodbird, and swelled in order to reach the top notes. Even so, he managed to sustain the vocal energy and kept the tuning by giving his all. In turn, the orchestra made a crushing built up towards the assassination point, responded with a lush and sentimental transition to mark Siegfried's last declaration of his love to Brünnhilde.
For whatever reason, I was very moved for the first time by the funeral march, which was rendered majestically and bold. Perhaps the orchestra's tone colour carried more the tragic sentiments than solemnity, or truth was finally revealed after all the preceded lies and chaos, which allowed emotions to pour out in full. Hagen's terrifying announcement of Siegfried's death and the blaming game with Gunther and Gutrune were as expectingly tense, but only stage action could realise the visual bloodshed. Zweden adopted an unhurried tempo for the immolation scene that aimed for a monumental and emotional end. Although Barkmin's higher register lacked the warmth of her lower vocal range, she phrased the music poetically and stayed smooth in her vocal switch. One felt particularly poignant and emotional when Brünnhilde recounted the past wrongdoings and betrayal, yet the moment of destruction and cleansing had arrived finally to undo it all. Along with radiant brass playing, the long crescendo built into a highly moving conclusion of this landmark project. The philharmonic orchestra had demonstrated it had reached a new musical height, and delivered an exceptional memorable performance.
To stay true and honest seems more difficult than exercising self interest, selfishness and manipulation. Such paradox still happens in our society, and never fail to amaze us of how much excuse one can deploy to legitimise mistakes. Though it is too simplistic to make Hagen solely as an example of evilness, who was also a by-product of Alberich and inherited that loveless power driven desire. Siegfried too failed to be a total hero as he did not realise the bigger picture, also stubborn enough not to give up the ring at the advice of rhinemaidens and warned him that death looming. Neither the ring nor the tarnheim brought the promised power and protection, instead those desired or possessed the two items brought themselves to destruction. Yet unorthodox partnerships and father-daughter reconciliation sometimes broke off the cruel world by celebrating the power of love and humanity, which gave us hopes that the world could change for a better future. The ring told a painful lesson, but only until Die Meistersinger and Parsifal that Wagner suggested for social transformation only through arts and ideological transformation would succeed.
Musically this performance of Götterdämmerung had successfully delivered the full package. Arguably the best display of the entire cycle and also most satisfying concert experience of the current season so far. The vocal line up were more pleasant for the ears than previous instalments, and technically outstanding that exceeded the expectation. Although the work was lengthy in duration, the orchestra never lose shape under the baton of Jaap van Zweden and every line being phrased meaningfully. It was also worth breaking the bank to augment the choir with reinforcements from abroad. Despite lacking a sonic depth and could have accented more on the chords, a polished and majestic orchestral entry was given at the prologue. Sarah Castle, the first Norn, sang poetically and injected much colour to her diction, yet the lower register seems slightly soft for the vast acoustic. Stephanie Houtzeel, in the role of second Norn, improved her diction and tuning as her voice warmed up. As she sang the passage that described Loge's involvement and fate, her singing tone was richer and gave a colourful painting of the text. The third Norn had the highest vocal range of the three and texturally more fluid. Though Jenufa Gleich would need to articulate consonants more to improve her diction and flexibility in switching registers.
The orchestra kept the momentum forward and responsive to the thematic transitions between the breaking of the thread and the sunrise scene. The devastation was felt with sheer intensity and urgency as the thread broke, followed by a still and mysterious passage on the cellos that depicted the break of dawn, and reached the climatic exultation of passionate love and sunrise brilliancy as the tutti excitement culminated in full. Gun-Brit Barkmin debut as Brünnhilde surprised me by her rich mezzo soprano timbre and still could reach the rather higher vocal range. She was steady with tempo at first and carefully phrased the lines. As she warmed up, her singing became more relaxed and opened up that enhanced the clarity in diction. Daniel Brenna, who already several stage experience as Siegfried, carried more space and warmth in tone, also acting out the role for interaction. His timbre made a pleasant impression of his line but vocal weight slightly light for the hall acoustic. He too was cautious with the words and the register changes. The pair maintained the passionate exuberance, and showed no sign of vocal strain to reach the climatic top notes. The thickened strings' layers during Siegfried's Rhine journey was rhythmically energetic and excited, but slips were audible from the horn solo. It all built into a majestic and polished tutti bold moment with dynamic contrast, but could swing more to lighten up the thick texture.
The orchestral introduction of Gibichung Hall was less eerie and dense than expected. Shenyang's Gunther felt very commanding than a puppet by his confident singing, whereas Eric Halfvarson's dense and rich bass tone recalled Fafner than the cunning Hagen. Both made the impression that they were in command of the situation even before Siegfried's arrival, which added the chilling weight as the assassination plot gradually unfolded. As Gutrune, Amanda Majeski had the right timbre for the role and stayed fluid in her singing despite tuning on high register not that secured. At Siegfried's entrance, the brass produced a crushing chord that seems marking the beginning of the end for the hero. Yet at the description of treasures that Siegfried had, Halfvarson lacked the urgency in portraying Hagen's underlying desire and some stage realisation would have given some visual context. The orchestra again responded vividly to the emotional changes as Siegfried took the potion that Gutrune had prepared. Brenna and Shenyang too delivered a dramatic interaction on the adventure to Brünnhilde's rock, and marked the swearing of brotherhood more daunting as what to follow. The brass ably produced the youthful excitement yet could have loosen up more to unleash the wildness. In contrast, the orchestral playing could be more chilling and bleak as Hagen narrated his cunning plan alone. Instead the lower brass created the atmospheric heaviness of curse by its tragic and gloomy tone colour.
The tender love theme in reintroducing Brünnhilde on the rock was short-lived, but horns were muddy at announcing the arrival of Waltraute. Barkmin interpreted the sisters' reunion as an emotional charge with a dramatic reception, while Zweden drove the orchestra to celebrate the joy of recalling the past. As always, Michelle DeYoung phrased the music poetically with very clear text and her voice filled the space effortlessly. Her narration of the fall of ash tree and Wotan's preparation for final destruction realised the varied emotions of horror and sadness. Here Barkmin carried more warmth in the her lower register and clear with her diction. She also effectively conveyed the ebbs and flows of emotional response with colourful contrast in the words. Upon Siegfried's return, the orchestral transition was warlike and tense in opposite to Brünnhilde in rapture. Though disguised Siegfried in tarnheim and confrontation between the pair would be more vivid with stage actions than solely relied on music narration. Instead the orchestra gave an eerie accompaniment as Brünnhilde was devastated by the betrayal and cried in horror.
Instead of an eerie dreamy impression, the orchestral introduction of act two carried more warmth than expected. Visually Peter Kálmán made a youthful Alberich compared to Halfvarson's Hagen, yet his baritone like timbre lacked the same resonance and richness. Though the portrayal was accurate as Alberich was eager on retrieving the ring, whereas Hagen stayed dreamy and uninterested to his father's urge. The bass clarinetist gave a subtle and smooth account of Hagen's awakening, but Siegfried's return seems slightly soft in presence on the orchestra part. Perhaps the intention was to leave room for the war like summon as Hagen sounded the alarm, in turn the combined male chorus thundered with a wall of sound. It gave the much desired dramatic intensity and the choral singing stayed bright and ringing. Gunther's announcement of the marriages was clear and definite, whereas Barkmin portrayed herself as an emotional Brünnhilde, who questioned the confused Siegfried and raged over the betrayal. Her vocal entries carried the urgency and furious impression, which was achieved by colourful word painting that conveyed the emotions. The orchestral underlay responded along by some raw playing on the strings, and increasingly violent as the misunderstanding and hostility deepened. The chorus also gave a bombastic questioning over the confusion and sounded very big in body. As the assassination plot was drawn up, the orchestra gave a devastating and dramatic finish.
The horns gave a blazing account of Siegfried's hunting calls that began the last act. Again the orchestra was able to intertwine between the witty playful part of the rhinemaidens and the chromatic recalling of curse and destruction. The three sopranos as rhinemaidens blended well together with a lot of active vocal energy on high tessitura passages. They drove the momentum forward with great intensity, which was in contrast to Brenna rather fluid and light timbre. It made a contrasting portrayal of the rhinemaidens being very noisy in their complains against Siegfried's disbelief of their warnings and his arrogance. Later when Siegfried recalled his past memory at Hagen's suggestion, Brenna gave a colourful account of his part. Yet he began to struggle in sustaining the legato at the thematic imitation of the woodbird, and swelled in order to reach the top notes. Even so, he managed to sustain the vocal energy and kept the tuning by giving his all. In turn, the orchestra made a crushing built up towards the assassination point, responded with a lush and sentimental transition to mark Siegfried's last declaration of his love to Brünnhilde.
For whatever reason, I was very moved for the first time by the funeral march, which was rendered majestically and bold. Perhaps the orchestra's tone colour carried more the tragic sentiments than solemnity, or truth was finally revealed after all the preceded lies and chaos, which allowed emotions to pour out in full. Hagen's terrifying announcement of Siegfried's death and the blaming game with Gunther and Gutrune were as expectingly tense, but only stage action could realise the visual bloodshed. Zweden adopted an unhurried tempo for the immolation scene that aimed for a monumental and emotional end. Although Barkmin's higher register lacked the warmth of her lower vocal range, she phrased the music poetically and stayed smooth in her vocal switch. One felt particularly poignant and emotional when Brünnhilde recounted the past wrongdoings and betrayal, yet the moment of destruction and cleansing had arrived finally to undo it all. Along with radiant brass playing, the long crescendo built into a highly moving conclusion of this landmark project. The philharmonic orchestra had demonstrated it had reached a new musical height, and delivered an exceptional memorable performance.
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