Copenhagen: Die Frau Ohne Schatten

Die Frau Ohne Schatten. Copenhagen Royal Opera, March 10th 2012. Production: Kasper Holten. Conductor: Michael Boder. Cast: Marion Ammann (Kaiserin), Johnny Van Hal (Kaiser), Johan Reuter (Barak), Linda Watson (His Wife), Susanne Resmark (Amme), Henning von Shulman (Messenger).

This production marked the ending of Kasper Holten and Michael Schønwandt´s 11-year tenure as artistic resp. music director at the Royal Danish Opera when it opened last Spring. And considering the massive problems with budget cuts which recently led to the resignation of newly appointed artistic director Keith Warner and music director Jakub Hrusa (neither has been replaced yet), Holten and Schønwandt certainly chose the right moment to leave. Especially Kasper Holten, who moved to the London Royal Opera House.
In any case, Kasper Holten certainly ended his tenure with perhaps his best production to date: A visually arresting production, with ample use of video projections tells the story of the two couples, who cannot have children, in a relatively straightforward manner. Entertained from start to end, a major feature is the vertical division of the stage into several chambers, thus showing several pieces of action simultaneously. A concept also used to great effect by Dmitri Tcherniakov in his Munich staging of Khovanschchina. With video projections helping to establish the moods: A tear, a sleeping pill dissolved in a glass of water etc. There is hardly a dull moment in this production, a great relief after having seen Christof Loy´s immensely boring production in Salzburg last summer.
The orchestra received rave reviews last year with Michael Schønwandt. Now, the conductor is Michael Boder, and yes, the orchestra plays well, and nuanced but with Christian Thielemanns mightly Vienna Philharmonics very present in memory it is hard to give them 5-stars. That said, Boder seems to have difficulty grasping the overall structure of the piece.
As for the singers, Johan Reuter is simply the best Barak I have ever heard with a wonderful warm voice, and such a welcome change to have a singer in his prime for this part. Equally a strong turnout for Linda Watson, who still has a very beautiful middle register, which is where most of her part lies. In comparison with her, Susanne Resmark seemed somewhat bleak. Marion Amman, a late substitution for Ann Petersen, was no more memorable than her husband.

A production very well suited for DVD release.

Production trailer:

The bottom line (scale of 1-5, 3=average):

Johnny Van Hal: 2
Marion Ammann: 2

Johan Reuter: 5

Susanne Resmark: 3
Linda Watson: 4

Michael Boder: 3-4
Kasper Holtens staging: 4

Overall impression: 4

DVD: Copenhagen Tannhäuser

DVD. Tannhäuser. 2010. Prod: Kasper Holten, cond: Friedemann Layer with the Royal Danish Orchestra. Cast: Stig Andersen (Tannhäuser), Tina Kiberg (Elisabeth), Susanne Resmark (Venus), Tommi Hakala (Wolfram), Stephen Milling (Landgraf).

The Royal Danish Opera had the choice between releasing Konwitschny´s unforgettable production of Elektra and this present Tannhäuser on DVD. For reasons unbeknownst to me, they chose then opera intendant Kasper Holten´s production of Tannhäuser.

Admittedly, the production received rave reviews in  the Danish press, which immediately puts me in the minority as I immensely disliked the production when seeing it in the theater. Also, I had trouble understanding it. Now, I am better prepared, having read bunches of review as well as the thoughts of the production team, which is still more interesting than actually watching the show, that is: The DVD.

Kasper Holten has creasted a Tannhäuser centered around the artists conflict of creation. It could be Richard Wagner, we see, but it is not necessarily so. This Tannhäuser is married to Elisabeth, has a child and is split between family and the process of creastion, personifized by Venus.
He struggles for recognition, but achieves this only after his own death, predeceded by the suicide of Elisabeth. "Zur erinnerung am Tannhäuser, der grossen poet und singer" we see at the end.
Much of Venus´ world is literally turned upside-down, to emphasize the contrast to Tannhäusers daily routines, and Venus lurks around, present in most scenes.

Kasper Holtens staging,  clearly gains from being revisited on DVD and the  unconventional closed-up filming in various angles added some (at times much-needed) dynamics to the piece.

Tina Kibergs voice has deteriorated significantly the past 10 years and is simply not pleasant to listen to anymore, though her committed acting makes somewhat (but not entirely) up for it. Susanne Resmark, a large woman one would not immediately associated with Venus, makes the most of what she got with a commanding stage presence and a willingness to expose herself competely if it serves the role. Many, who saw the Copenhagen Ring still remember her Siegfried-Erda, where she stripped down to a nightdress in a retirement home. Also as Venus, she is compelling and vocally strong.

Stephen Milling, in his second Landgraf-DVD is impressive, whereas Tommi Hakala, a Cardiff Singer of the World winner in 2003, is more anonymous.

And Stig Andersen himself, now 60 years old, generally ages well vocally, and makes a considerably better effort than most of his colleagues on the major stages.

Friedemann Layer, a favourite of the Royal Danish Orchestra, conducts lucidly and fluently.

Is it THE Tannhäuser to own? It could be, depending on preferences. The ultimately traditional Tannhäuser is the one from The Met, alternatively are David Alden´s Munich production or the newer Lehnhoff staging from Baden-Baden.


The bottom line (scale of 1-5, 3=average):

Stig Andersen: 4
Tina Kiberg: 2
Susanne Resmark: 3
Tommi Hakala: 3
Stephen Milling: 4

Kasper Holten: 3-4
Friedemann Layer: 4

Overall impression: 3-4

DVD: Selma Jezkova (Dancer in the Dark)

DVD. Selma Jezkova. Prod: Kasper Holten, cond: Michael Schønwandt with the Royal Danish Orchestra. 2010. Cast: Ylva Kihlberg (Selma)

Poul Ruders adaptation of Dancer in the Dark was met with unaimously negative reviews from the Danish press after the 2010 world premiere. In fact, Dancer in the Dark - the opera is only loosely based on Dancer in the Dark - the move, and in fact Poul Ruders originally suggested the opera to be named Selma Jezkova. A proposition rightly vetoed by Intendant (and director) Kasper Holten for strategic purposes.

Indeed, Selma Jezkova is a very dark work. Where Björks singing occasionally lit up the movie, nothing lightens up the opera, where the story of Selma Jezkova, whose only desire is to save money to pay
for eye surgery for her son, comes to a tragic end. Poul Ruders score mixed the melodic with the abrupt, even incorporation a few musical-style elements.

I am more often than not, not crazy about modern opera, which I feel often fails to transmit emotions to the audience the way (some of) the 80-90+ year old works do. Equally with Ruders. The story is horrible. But I am not moved. It certainly is not the fault of Ylva Kihlberg, who has for long been my favourite soprano at the Royal Danish Opera. She gives everything she has to the character. I am not sure it is the fault of Kasper Holten either, rather realistically telling the Ruders story in 7 scenes and only 70 minutes.

Is it too short? Would it be more moving if we had more time to know the characters? Maybe. Or maybe opera is just not the optimal medium to tell a realistic story of a poor factory worker in the 21th century.

The bottom line (scale of 1-5, 3=average): 3

Ylva Kihlberg: 4

Kasper Holten: 3

Michael Schønwandt: 4

Overall impression: 2

Superb Stephen Milling and Johan Reuter in Copenhagen Don Carlo

Don Carlo (Ital. 4-act). Royal Danish Opera, Copenhagen Opera House, October 9th 2008. Production: Kasper Bech Holten. Cast: Stephen Milling (Filippo), Jean-Pierre Furlan (Carlo), Johan Reuter (Posa), Tina Kiberg (Elisabetta), Susanne Resmark (Eboli). Conductor: Graeme Jenkins. Further information here.


Last year, Morten Messerschmidt, member of the Danish Parliament representing the rightwing party Dansk Folkparti (tr: Party of the Danish People) made the unfortunate decision to become dead-drunk during a party in the Copenhagen Tivoli Gardens and according to some eyewitnesses “make Nazi greetings and sing Nazi songs”. Something Morten Messerschmidt and other eyewitnesses denied (although he admits to being dead-drunk and perhaps not remembering the exact course of events), claiming they only shouted “Deutschland, Deutschland über alles” as a harmless joke. Nevertheless a joke gaining him a considerable amount of negative publicity as well as being expelled from his party, though he was later readmitted.

Now Morten Messserschmidt tries hard to create controversy in areas less related to such leisure-time activities. Such as opera where Morten Messerschmidt attended the premiere of Kasper Bech Holten´s new production of Don Carlo last November at the Royal Danish Opera. So did I.

Subsequently this staging, for rather obscure reasons has been surrounded with controversy. Some of it initiated by Morten Messerschmidt´ letter to a major Danish newspaper, in which he
complained about the allegedly unacceptable (ie. different from his own) political views put forward. Morten Messerschmidt´s main point is that the Royal Danish Opera is financed by the Danish tax-payers (true) and subsequently should refrain from politically flavoured productions. In fact it is a rather non-debate as far as I am concerned. Of course Kasper Bech Holten´s staging discusses the political aspects of Don Carlos. Why else stage it?

I described Kasper Bech Holten´s production in detail after the 2007 premiere, and not much has changed. I still find it one of his most successful productions.

Irrelevant quibble aside. Musically it was a major success.

The Filippo-Posa constellation was just unbelievable. Stephen Milling is simply staggering as Filippo. His voice is rather rough, but his portrait of the ultimately insecure monarch is immensely consistant and nuanced. And ultimately very, very touching. Furthermore the middle and lower register of his voice projects like a loud-speaker with a power exceeding anything I have ever heard in that, or other basso parts, for that matter. Stephen Milling is a very close contender to the throne of Spain. That the Grand Inquisitor was completely overpowered was rather expected.

This high level continued with Danish bass-barytone Johan Reuter, who was quite simply the best Posa I have seen or heard on stage. Currently Johan Reuter is venturing into the dramatic bass-barytone fach with upcoming performances of Orestes and Flying Dutchman, so Posa is actually one of his “easier-for-the-voice” parts. As opposed to most Posa´s, who are overstretched lyrical baritones, Johan Reuter clearly does not dig into his reserves but has the necessary vocal surplus to make the part sound easy. Furthermore he effortless projects his voice evenly throughout the range and he is a great actor completely believably as the nerdy Posa. The confrontation between him and Filippo is the highlight of the opera.

Susanne Resmark, also embarking on an international career, is physically perhaps not the most convincing Eboli, though her stage presence is immense and vocally she negotiates the part as well as anyone. In fact better than anyone I remember having seen live.

The Carlos-Elisabetta pair did not quite perform on this high level, though they were nevertheless more than fine.

The orchestra conducted by Graeme Jenkins also sounded great..

The bottom line (scale of 1-5, 3=average):

Stephen Milling: 5
Johan Reuter: 5
Susanne Resmark: 4
Tina Kiberg: 3
Jean-Pierre Furlan: 3

Kasper Bech Holten´s production: 4

Graeme Jenkins: 4

Overall impression: 4-5

The Copenhagen Ring on DVD: Review

The Copenhagen Ring DVD (Der Ring des Nibelungen). Royal Danish Opera, Copenhagen 2006. Production: Kasper Bech Holten. Cast includes: Stig Andersen (Siegfried), Irene Théorin (Brünnhilde), Stephen Milling (Hunding), James Johnson (Wotan). Conductor: Michael Schønwandt. Further information here.

Overview and general comments

This 7 DVD set contains "The Copenhagen Ring" - the complete Nibelungen Ring, recorded from the three live Ring cycles performed by the Royal Danish Opera in 2006 in the new opera house located directly on the Copenhagen waterfront. The bonus material consists of a 30-minutes conversation between director Kasper Bech Holten and the Queen of Denmark (see below). The accompanying booklets include sections by Kasper Bech Holten on the production concept as well as background information on the cycle. Subtitles are available in English, French, German, Spanish, Chinese and Danish.

"The Copenhagen Ring" is described in details here with plenty photographs.

In brief, this was labeled The Feminine Ring, as the story is told in flash-backs from Brünnhilde´s point of view, spanning the 20th Century. While the Feminine viewpoint does not seem central in the final concept as it appears on DVD, the history-telling of the 20th Century does indeed: From the roaring 20´s of Rheingold to the hermetically closed and conservative 50´s via the liberation of the 60´s in Siegfried to the cruel Balkan-like partisan war of the 90´s in Götterdämmerung.

First of all, The Copenhagen Ring this is a very theatrical Ring. The tempi are high. Myriads of things take place simultaneously on stage. No one just hangs around passively in a corner. That the impression of this Ring indeed was stronger on DVD than live, may perhaps be attributed to the very close-up camera shots revealing the extraordinary detailed stage direction.

In brief, the musical side was an unequivocal success: Michael Schønwandt´s Royal Danish Orchestra sound was gloriously transferred to DVD, with even greater power and more lucidity than I remembered it from the live performances.

The singers were all excellent actors and looked their parts. Furthermore, the singing was never less than average and casting of many of the crucial characters were on the highest international level (Stephen Milling, Stig Andersen, Irene Théorin etc.).

However, the most controversial aspect of this Copenhagen Ring DVD release undoubtedly will be the actual filming, as The Copenhagen Ring approximates a film in its own right rather than a recording of a live operatic performance:

18 cameras were used, several providing views not accessible for the audience (from the prompters box, from above, from the side-stage, from under the tables, from the bottom of Mime´s sink etc). Everything was filmed very close up, closer than in any other operatic DVD I have encountered. And a tremendous amount of clips were applied - especially in Rheingold, I gather the camera angles were changed at least once every 5 seconds, providing a very flickering image. Furthermore several of the close-ups were shaky and initially off-focus, distinctly reminding of the works of Dogme-film directors such as Lars von Trier applying very close-up shots with hand-held cameras at odd angles.

Several of the singers turned out even better actors on the DVD than I remembered them in the theater, and on DVD nuances in the stage direction I never noticed before suddenly became apparent. Even the smallest wrinkle is seen, not always desirable though, and singers like Stig Andersen actually look older with the stage make-up. There is a distinct in-your-face effect to all this, which I suspect potential audiences will disagree wildly about.

Did I like the filmic aspect then? I am not sure, which, however mainly is of interest to myself. The question is, may the potential/actual buyers like it? Some undoubtedly will not. I´d especially predict younger audiences to find this high-tempo story-telling fascinating. For sure, it is never boring and will make a great introduction for those unfamiliar with the work.

I must admit to finding these quick camera shifts quite stressful making it almost impossible to focus on the music. By far the worst in Rheingold. But then I suppose it´s better being irritated than bored... Finally, one has to realize this is virtually a film on its own right and does not give an impression of how it was to be in the audience (as an audience member when this DVD was recorded, I should know).

The production of this Copenhagen Ring DVD is a major achievement from a relatively minor opera house. And impressive to have this released on DECCA instead of the odd backyard company I had expected...But local-patriotism aside, The Copenhagen Ring more than holds it´s own on the relatively small Nibelungen Ring DVD market. First and foremost I am positively surprised of the high musical quality of this Ring.

With an eye on the DVD competition, the only other demythologizing Ring production on DVD is the Stuttgart Ring, which The Copenhagen Ring DVD exceeds in both production and musical quality.

The only true traditional Ring on the DVD market is the Schenk/Levine Metropolitan Ring, which I cannot recommend despite some fine moments.

Of Kupfer´s two DVD Rings, the Barcelona production has the superior staging (but with very disappointing musical quality), while both staging and orchestra is superb in the other Kupfer Ring conducted by Daniel Barenboim in Bayreuth, not to be touched musically.

However the Danish Royal Orchestra perform on such high level that those not caring to look at Harry Kupfer´s naked Bayreuth Festival stage for 14 hours, may prefer The Copenhagen Ring.

Audi´s futuristic Amsterdam production is extremely beautiful, but so different from Kasper Bech Holten´s approach, that comparisons do not make sense (The Copenhagen Ring singers in general are slightly better than the Amsterdam team, though Haenchen´s orchestra is fine). And lastly, Patrice Chéreau´s Bayreuth Centenary Ring with the superb stage direction, slightly disengaging conducting, unfortunately has a disastrous casting of Siegfried. Again, very different.

As I do not necessarily mind looking at an empty, dark stage for 14 hours, as well as being a huge admirer of Daniel Barenboim, the Kupfer/Barenboim Ring still takes first place on my shelf. But after that, the field is entirely open..

I´d strongly recommend The Copenhagen Ring for the theatrical approach and musical quality. Indeed, the musical quality is so high that for those preferring modern productions with high tempi and easy-to-follow storytelling, I wouldn´t hesitate to recommend this as a first choice Nibelungen Ring on DVD. It may serve as a great introduction to the Nibelungen Ring for those not familiar with the work or with Wagner, as well. A comprehensive review of all commercially available Nibelungen Ring DVDs may be found here.

The Copenhagen Ring may well hold it´s own on the DVD market, also for those "only" intending to own one DVD version of the Nibelungen Ring.

Promotional video from Decca:

The individual operas - Rheingold

The staging of the Rheingold is described in detail here.

A panoramic waterfront view of the new Copenhagen Opera House at dusk is shown before every performance. We then see Queen Margrethe of Denmark take her seat in the Royal Box just before the Rheingold begins (she attended cycle 2 as did I, but despite repeatedly freezing the screen, I didn´t manage to catch a glimpse of myself on row 14, when the cameras swept the floor section).

Irene Théorin now takes center stage. She is in the attick of her family´s mansion and she rummages through memorabilia in order to understand her past (in Götterdämmerung we learn that this takes place the exact moment Hagen and Gunther has left to kill Siegfried).
She starts remembering, disappears through the floor and the flash-back begin...

The Rheingold fits on one DVD. During the interludes, footage of Brünnhilde and her past is shown, probably attempting to highlight the Feminine story-telling aspect of the production.

Highlights from this Rheingold (with photos) include: The 1920´s Charleston-clad Rhinemaidens in the swimming-pool; Alberich tearing out the heart of the Rhinegold; Loge, the journalist, constantly looking for his lighter; Wotan cutting off Alberich´s arm to get the Ring in a torture-chamber; Wotan killing Loge, who knows too much; Lastly the impressive orchestra conducted by Michael Schønwandt.

The individual operas - Walküre

The staging of Walküre is described in detail with photographs here.

Highlights from the Walküre (with photos) include: The claustrophobic home of Sieglinde; Stephen Milling´s formidable Hunding; James Johnson´s cynical as well as charming Wotan; Brünnhilde appearing in the misty blue light to foretell Siegmunds death; the fine singing of Iréne Theorin; the fact that Hunding survives; and (again) the gloriously transferred orchestral sound..

Many, including director Kasper Bech Holten, has named the moment Wotan tears off Brünnhilde´s wings the greatest of the Ring. I must confess to the minority view of never have thought anything particular of that scene...

Walküre, in my opinion, is the least successful of the four stagings, mainly due to the fact that the drama between Siegmund and Sieglinde vs. Wotan and Brünnhilde never seemed to function at quite the same level as the core political dramas in the other installments.

A 30-minute bonus feature included director Kasper Bech Holten in conversation with Queen Margrethe of Denmark (an avid Ring follower and very enthusiastic about this Ring) on the production, which the Queen has seen numerous times. Kasper Bech Holten appears very enthusiastic and engaging, hilariously interrupting the Queen, who doesn´t seem to take offense, numerous times....Kasper Bech Holten once again confirms that the sets for this Ring have indeed been thrown away, so there will definitely not be a revival.

The individual operas - Siegfried

The staging of Siegfried is described in detail here.

Highlights from Siegfried (with photos) include: The orchestra; Mime´s doll-house; Stig Andersen´s formidable Siegfried; Bengt-Ola Morgny´s pathetic Mime; Wotan as a tourist at Neidhöhle; Wotan realizing that time has indeed passed when visiting the decaying Erda of Susanne Resmark in a nursing home.

The individual operas - Götterdämmerung

The staging of Siegfried is described in details here.

Highlights of Götterdämmerung (with photos) include: The prologue with the Norns as frustrated opera-goers located in the audience (and spotting my previous boss on the DVD in a front-row seat); the formidable ice-cold and psychopathic acting of Peter Klaveness as Hagen; the shocking murder of hostages during Hagen´s call; Hagen´s murder of Alberich; Brünnhilde breaking down in Siegfried´s death scene; Ylva Kihlberg´s Gutrune; Michael Schønwandt´s orchestra; Stig Andersen´s world-class Siegfried.

The singers

Generel comments: There are no truly weak links among the singers, not even wearing international (as opposed to local-patriotic) glasses. All singers futhermore were excellent actors.

Wotan: Johan Reuter, despite a beautiful voice and convincing acting he seemed almost too naive as the young Wotan and somehow didn´t quite make the impression I´d expected him to.
James Johnson does not have a particularly large voice, which furthermore is almost approaching a true barytone. An excellent actor with a considerable talent for comedy and irony as well as vocal characterization. A very convincing portrait.

Brünnhilde: Irene Théorin´s Brünnhilde was even more convincing on DVD than live, the close-up shots revealing her as a vastly more convincing stage actress than I was aware of from sitting in the audience. And in her absolutely best voice, with a glowing middle register and a reasonable vibrato, she hits all the notes, most on pitch as well. Only in Götterdämmerung did she occasionally seem to tire vocally. Clearly among the best on DVD.

Siegfried: Superb performance from Stig Andersen. Truly a world-class Siegfried. He may be slightly strained on the top, which however does not detract from his performance as he is a formidable stage actor as well. Unfortunately the make-up makes him look even older than he (and Siegfried) is. Also fine as Siegmund (taking over the role from the originally scheduled Poul Elming).

Sieglinde: Solid performance from a Gitta-Maria Sjöberg with a distinguished golden glow in her middle voice. Not a large voice, and essentially lyrical, but capable of conveying the necessary drama.

Hunding: Stephen Milling´s truly evil and menacing Hunding was one of the highlights of the entire cycle and is beyond competition on on DVD (as well as on stage).

Hagen: Dramatically, Peter Klaveness is a splendidly terrifying and psychopathic Hagen. Unfortunately he is vocally underpowered and shaky. But this is clearly to be preferred to the opposite combination.

Alberich: Sten Byriel was dramatically convincing, but lacked some vocal power as well.

Fricka: Randi Stene was a stylish and elegant Fricka in all regards.

Erda: Vocally the part is slightly too low for Susanne Resmark´s maximal comfort. But she is a formidable as well as courageous stage actress and the scene from Siegfried showing her decay is unforgettable.

Mime: Bengt-Ola Morgny fits the image of Mime´s small and constricted mind exceedingly well.

Gutrune: Ylva Kihlberg has a very unique middle voice and is perfect as the white trash Gutrune.

Gunther: Guido Paevatalu is convincing as the white trash paramilitary Gunther, slightly more so dramatically than vocally.

Loge: Michael Kristensen was slick as Loge and vocally fine as well, though I missed some edge in the characterization.

Fasolt/Fafner: Stephen Milling demonstrated himself capable of an almost unbelievable dramatic change between his soft Fasolt and mesmerizing Hunding. Christian Christiansen, though not entirely on this level, was nevertheless a solid Fafner.

Waltraute - Fine performance from Anette Bod.

Others of note:

Both the Rhinemaidens, Valkyries and Norns were fine. Powerful performance from the choir in Götterdämmerung, revealing many of the choristers to be excellent stage actors as well.

The conductor and orchestra

Michael Schønwandt´s approach to Wagner does occasionally tend to be too passive for my taste. Just by observing him on the podium you immediately get an impression of a more light-hearted approach as opposed to watching the more heavy Wagnerians such as Daniel Barenboim.
With that in mind, I was positively surprised that Michael Schønwandt´s approach to the Nibelungen Ring stayed firmly away from Wagner light and instead he displayed some of the most forceful and pointedly conducting I have heard from him. And good to hear him apply the necessary force behind the brass section in Siegfried and Götterdämmerung.

Most importantly, Michael Schønwandt has an exceptional understanding of the structure of the work and manages to build up tension over long stretches of the score, instead of blowing out the fortissimos at every potential occasion. He creates a very detailed and balanced orchestral sound, where the wood-winds stood particularly out, sometimes even as audible as the brass section. More brass and density in the string section would still have been welcome, but these are artistical choices, obviously.

The tempi were firmly located in the middle (faster than Barenboim and Levine, slower than Haenchen and Boulez), occasionally verging on the fast side, particularly in the more grandiose sections (such as the prelude to Siegfried Act 3) where he keeps the tempo up. The sound was rather closely recorded (and in splendid sound quality as well), which helps create a dynamic sound image. Furthermore the coordination between the pit and the singers is virtually perfect and the sound is well balanced over-all.

Encouraged by all this, I then made the mistake to try some point-to-point comparisons with Daniel Barenboim in Siegfried and Götterdämmerung - and in that respect Michael Schønwandt´s reading does come out rather Wagner light, though...But so does everyone else´s. And though the Royal Danish Orchestra has become an international-level operatic orchestra, it really is quite unfair to compare them to the mighty Bayreuth Festival Orchestra. Apart from the fact, that this is one of the competing Nibelungen Ring DVDs on the market, and potential buyers may be interested in a take on the different approaches to the score:

In this respect, Michael Schønwandt is: More engaging than Pierre Boulez (Bayreuth); much more engaging and dynamic than James Levine (MET); simply better than Bertrand de Billy (Barcelona); slower than Hartmut Haenchen who is too fast in an otherwise well-played performance (Amsterdam); more brilliant than Lothar Zagrosek (Stuttgart). That leaves Daniel Barenboim (Bayreuth), who is untouchable. But then Harry Kupfer´s accompanying staging is substantially different from Kasper Bech Holten´s.

In brief - The highlights and lowlights

The highlights: Stephen Milling´s Hunding. Stig Andersen´s Siegfried. Iréne Théorin as Brünnhilde. Ylva Kihlberg as Gutrune. Susanne Resmark´s Erda in Siegfried. Michael Schønwandts orchestra. The detailed stage direction and sense of drama applied by Kasper Bech Holten and the production team.

Among the most powerful scenes: Wotan cutting off Alberich´s arm, Wotan visiting the frail Erda in Siegfried, the murder of civilians in Götterdämmerung

The lowlights: No element may be singled out as a lowlight. The controversial aspects, I´d predict to be:
The non-traditional staging (as always).
The non-traditional production of the DVD.

The bottom line (scale of 1-5, 3=average)

The ratings are given in comparison to the other Ring DVDs available, and the superb acting skills of several of the singers weigh in heavily here. After all it is a visual medium:

Johan Reuter: 3-4
Michael Kristensen: 3-4
James Johnson: 4
Stig Andersen as Siegfried: 5
Stig Andersen as Siegmund: 4
Irene Théorin: 4
Gitta-Maria Sjöberg: 3-4
Stephen Milling: 5
Sten Byriel: 3-4
Randi Stene: 4
Ylva Kihlberg: 5
Peter Klaveness: 4
Guido Paevatalu: 3-4
Susanne Resmark: 4
Anette Bod: 4

Kasper Bech Holten´s staging: 4
Michael Schønwandt and the orchestra: 4.5

Overall impression: 4

Other reviews of The Copenhagen Ring DVD:

Politiken (in Danish)
Jyllandsposten (in Danish)

The Copenhagen Ring - Götterdämmerung

This post is part of a series of posts on The Copenhagen Ring, consisting of:
The Copenhagen Ring - overview and concept.
The Copenhagen Ring - Rheingold.
The Copenhagen Ring - Walküre.
The Copenhagen Ring - Siegfried.
The Copenhagen Ring - Götterdämmerung.

Reviews of The Copenhagen Ring DVD here.

Götterdämmerung. Premiere in 2006. Part of The Copenhagen Ring Cycles 2006. Royal Danish Opera. Michael Schønwandt, conductor. Kasper Bech Holten, director.

Cast on The Copenhagen Ring DVD: Stig Fogh Andersen (Siegfried), Irene Théorin (Brünnhilde), Peter Klaveness (Hagen), Guido Paevatalu (Gunter), Ylva Kihlberg (Gutrune), Anette Bod (Waltraute), Sten Byriel (Alberich). Further information here.

The action has now been brought up to present time heavily inspired by the situation on Balkan in the 1990´s. Gunther and Gutrune are white trash and everything about them is cheap - from Gutrune´s bleached hair to Gunther´s general looser-attitude and cheap whisky, which he pours into Siegfried upon his arrival..
Hagen is the mean killer - of innocent civilians as well as of Alberich as soon as he has extracted the necessary information from him. It only seems natural that Siegfried choses Gutrune - an 18-year old knowing nothing of the world, having not chosen Brünnhilde himself, now suddenly with all these possibilities..
And it is only towards the end of this Götterdämmerung that the core concept of the entire production emerges as we now see Brünnhilde in the attic (as Gunther and Hagen have left to kill Siegfried) striking the match as she did in the beginning of Rheingold - the four operas representing a flash-back through her past history in an attempt to understand how things may have come to this. "The male logic has failed - now it is time for the female" it seems with the the tetralogy ending as Brünnhilde appears center stage holding hers and Siegfried´s small baby in her arms pointing towards a new beginning. All the others, obviously, are dead...

Stig Andersen continued his impressive performance of Siegfried - except for the premiere performance, where he was replaced by Christian Franz. This meant some changes to the production, since Siegfried at one point arrives on stage driving a car and Christian Franz does not have a drivers licence...
Tina Kiberg and Iréne Théorin alternated the Brünnhilde - two very different but interesting portraits - Kiberg´s being the more lyrical as opposed to Théorin´s larger and more dramatic voice who is to appear on the DVD. Peter Klaveness undoubtedly was intended as a very evil Hagen - and succeeded more so dramatically than vocally..Ylva Kihlberg literally shone as Gutrune. Guido Paevatalu also in a voice that didn´t quite match his acting skills while Anette Bod as Waltraute was convincing in both departments.

Last, but not least, the perhaps greatest achievement of this Cycle: The orchestra with Michael Schönwandt. After all I have heard Michael Schönwandt conduct 50+ Wagner performances over the past 20 years and I know that the heavy handed Wagner approach with plenty of brass and strings is just not his style, instead emphasizing the detailed structure and transparency of the score. But, even without the slightest hint of local-patriotism, I was hugely impressed with what was no doubt orchestra playing on a high international level -continuously flowing, never monotonous and even the major poignant sections such as Siegfried´s Funeral march and the Ending was pulled off magnificently.

The staging step by step with photographs:

The norns, here as members of a German Richard Wagner association, discuss Wagner performances in the prologue:

Siegfried and Brünnhilde when everything is still going well:

Hagen with Gunther:

Hagen:

Gunther, Gutrune and Hagen (below):

The ubiquitous New Carlsberg Glyptotek Walkure Rock:

Waltraute trying to convince Brünnhilde to give up the Ring:

Alberich - the blackboard is full of the lessons he has tried to teach Hagen...

The happy and not-so-happy couple:

The Rhinemaidens - appear in Siegfried´s dream:

As Hagen and Gunther go out to kill Siegfried, we now realize that the entire Ring Cycle has been a flash-back of Brünnhilde´s mind, as she enters the attic of the family home and starts to unravel her family´s past in an attempt to understand her present situation and herself:

Siegfried remembering. With Gunther and Hagen:

Iréne Théorin as Brünnhilde:

Brünnhilde reconciles with Gutrune. This is A Feminine Ring, after all:

Brünnhilde sets the attick on fire:

In the end, we see Brünnhilde, with hers and Siegfried´s child. The "male" logic and values have failed and it is now time for the female approach:

All photos from the Royal Danish Opera and the website of The Copenhagen Ring

The Copenhagen Ring - Siegfried

This post is part of a series of posts on The Copenhagen Ring, consisting of:
The Copenhagen Ring - overview and concept.
The Copenhagen Ring - Rheingold.
The Copenhagen Ring - Walküre.
The Copenhagen Ring - Siegfried.
The Copenhagen Ring - Götterdämmerung.

Reviews of The Copenhagen Ring DVD here.

Siegfried. Premiere 2005. Part of The Copenhagen Ring Cycle 2006. Royal Danish Opera. Michael Schønwandt, conductor. Kasper Bech Holten, director.

Cast on the Copenhagen Ring DVD: Stig Fogh Andersen(Siegfried), Bengt-Ola Morgny (Mime), James Johnson (Wanderer), Susanne Resmark (Erda), Irene Théorin(Brünnhilde), Christian Christiansen (Fafner), Steen Byriel (Alberich), Gisela Stille (Woodbird). Further information here.



We are now in the 1960´s. In 1968 to be exact. Mime´s house - a dollhouse - is horizontally divided into three levels - the basement, the living room and Siegfried´s room in the attic, complete with guitars and posters of rock stars.
Siegfried is the rebellious teenager and no hero, of course. A rebel yes, but very much the product of the society he rebels against. Mime is a mr. Smith, subdued, typing along on his typewriter, quite obviously not harbouring a healthy personality. I had expected to discover Sieglinde´s body in the basement, this does not happen however...
As seems to be the current trend among Ring directors (seen in both the recent London and the current and previous Bayreuth Ring), Hagen lurks around Fafner´s lair, while Wotan visits as the innocent tourist taking photographs around Neidhöhle (as he is not allowed to interfere, though he does his best to do so anyway).
Fafner, though completely harmless himself, lives underneath the ugly, deserted, chemical toxic wasteland he has created with the power of the Ring.
Who does the woodbird represent? Here the answer is Brünnhilde (my answer is Wotan, but I suppose that is besides the point..).

Wotan and Alberich are now grumpy old men, Wotan with an alcohol problem as well. In one of the best scenes of the Cycle, Wotan returns to Erda to realize that they both have grown old and time has indeed passed them by, but nevertheless he cannot let go, neither relinquish the power to Siegfried, though in the end he accepts the necessity to do so and breaks the spear himself. And already from the beginning it is obvious that the relationship between Siegfried and Brünnhilde does not last - as the imbalance in experience as well as the lack of free choice on the part of Siegfried is obvious from the start.

Stig Fogh Andersen delivered a superb performance both dramatically and vocally as Siegfried. Bengt-Ola Morgny also convinced as Mime (actually I don´t remember having ever seen a bad Mime). James Johnson continued as the Wanderer, while Iréne Theorin and Tina Kiberg split the Brünnhildes - again the more lyrical approach by Kiberg versus the more dramatical portrait by Théorin, the latter to be seen on the DVD.

The staging step by step with photographs:

Siegfried:

Mime:

Siegfried in his room in the attic:

Siegfried asks Mime about his parents:

The forging of Nothung:

Mime at Fafner´s lair:

Mime and Alberich quarelling:

Fafner with Siegfried:

Wotan comes back to visit the ageing Erda:

Wotan (Wanderer) with Siegfried:

Again..The Walkure Rock - Siegfried and Brünhilde:

All photos from the Royal Danish Opera and the website of The Copenhagen Ring.

The Copenhagen Ring - Die Walküre

This post is part of a series of posts on The Copenhagen Ring, consisting of:
The Copenhagen Ring - overview and concept.
The Copenhagen Ring - Rheingold.
The Copenhagen Ring - Walküre.
The Copenhagen Ring - Siegfried.
The Copenhagen Ring - Götterdämmerung.

Reviews of The Copenhagen Ring DVD here.

Die Walküre. Premiere 2003. Part of The Copenhagen Ring Cycles 2006. Royal Danish Opera. Michael Schönwandt, conductor. Kasper Bech Holten, director.

Cast on The Copenhagen Ring DVD (scheduled for release July 2008): Stig Fogh Andersen (Siegmund), Gitta-Maria Sjöberg (Sieglinde), James Johnson (Wotan), Irene Théorin(Brünnhilde), Stephen Milling (Hunding), Randi Stene (Fricka). Full cast information here.

We have now moved forward from the 1920´s of Rheingold to the conform and frozen 1950´s. Everything literally takes place within confined boxes- even Hunding and Sieglinde´s home only occupy a small fraction of the stage, which then turns around to expose a hill covered in flowers later in Act 1. Sieglinde is a nervous and insecure German hausfrau, but being part of a A Femine Ring she does manage to pull the sword and hand it to Siegmund.
We see Wotan in his command centre, on the bridge, moving around with casts of Siegmund and Sieglinde beneath him. On both sides of the stage the bookshelves are present, reminding us, that this is part of Brünnhildes recollection of her past. Not a man of action, Wotan does not kill the one Hunding on stage I´ve seen that truly deserves to die...
The emerging of Brünnhilde within a blue mist to warn Siegmund is one of the most beautiful scenes of the Cycle. Curiously the lights used to achieve this quite spectacular effect, according to Jesper Kongshaug (the light director), comes from one of the few artificial light sources stronger than the sun (!).
The huge black wings of the Valkyries are one of the easiest recognizable features of the production, with Wotan symbolically tearing them off Brünnhilde as she goes to sleep.

The Walküre Rock was loosely inspired by the cupula of the New Carlsberg Glyptotek (an art museum in Copenhagen), and (unfortunately for me, as I find it rather ugly) is to reappear virtually unaltered in both Siegfried and Götterdämmerung...

It was in this Walküre that Plácido Domingo appeared once in the new opera house in 2006 - apparently stepping into the staging without problems after virtually no rehearsals.
Originally Poul Elming was scheduled as Siegmund, but he pulled out at short notice due to illness and was replaced by Stig Andersen, who thus sang Siegmund and Siegfried both on stage and in the DVD production. Tina Kiberg´s lyrical (and better looking) Brünnhilde alternated with Iréne Théorin´s more dramatically inclined one. A mix of the best of these two interpretations would really have been something..Iréne Théorin will appear on the DVD, the right choice in my opinion. James Johnson created a convincing Wotan opposite Randi Stene´s elegant Fricka. Gitta-Maria Sjöberg´s Sieglinde I have seen only once (as both Iréne Théorin and Eva Johansson also appeared in the part) and remember very little about.

But the absolute highlight of this Walküre (and perhaps of the entire cycle) was Stephen Milling as Hunding. The meanest characyter I have ever seen on stage - perhaps with the exception of the late Aage Haugland, but nobody else even comes close...

The staging step by step with photographs:

The meanest Hunding alive:

Sieglinde and Hunding´s house has turned 180 degrees to expose a flowery hill on which we see Siegmund and Sieglinde:

Wotan and Brünnhilde - at that brief moment where everything is going well (they believe)..

Before Fricka enters on Wotan´s commando bridge:

Brunnhilde in front of the casts of Siegmund and Sieglinde:

Brünnhilde to foretell Siegmund´s death:

The appearance of Brünnhilde from the blue mist was one of the most beautiful scenes in the entire cycle. Note the bookshelves of Wotan´s attic at both sides emphasizing the whole cycle as a flash-back of Brünnhildes mind:

Modeled on the New Carlsberg Glyptotek we see the Walkure Rock - my biggest objection to the staging of the entire cycle as I simply finds it unattractive. Unfortunately it reappears in both Siegfried and Götterdämmerung:

Wotan arrives to punish Brünnhilde:

Wotan´s goodbye to Brünnhilde:

Photographs from the Royal Danish Opera and the website of The Copenhagen Ring.