Where are you? I’m working from home but am also at the Berliner Philharmoniker Digital Hall watching Sir Simon Rattle conduct Joseph Haydn’s “Oxford” Symphony No. 92 in G major and Johannes Brahms Symphony No. 1 in C minor.
The concerts are free. The digital concert hall site asks you to redeem a voucher. Once done you go to trailers and/or the various concerts.
I’ve started with Concert 39 to hear the Oxford and the Brahms First but will return to check out the other concerts.
Then, sad that the Lyric Opera of Chicago had to cancel its much anticipated “Ring” this spring due to the C Virus, I took a time-machine back the to the Metropolitan Opera’s Ring cycle that began in 2010.
The Met is doing nightly opera streams. However, it also has free videos that can be watched any time of day. During week 2, now through March 29, 2020, videos concentrate on Wagner.
I loved “Wagner Dreams,” a fascinating behind the scenes journey of producing an unusual Ring. It depended on a giant machine with moving steps and platforms and terrific lighting but also spectacular voices and performances. I will try “Wagner Leitmotifs,” later.
To watch “Gotterdammerung,” slated for today, March 27, 2020 which stars Deborah Voigt, Wendy Bryn Harmer, Waltraud Meier, Jay Hunter Morris, Iain Paterson, Eric Owens, and Hans-Peter König, (conducted by Fabio Luisi. From February 11, 2012) means signing up for a Met on Demand subscription. There is also a rental for about $5.
Opera goers who saw “Das Rheingold” in 2016 and “Die Walküre” in 2017, Lyric’s first two operas segments of Wagner’s four-part “Der Ring des Nibelungen,” will find the next segment, “Siegfried,” still has tall scenery towers bookending the stage. They deliberately remind audiences that Wagner’s The Ring cycle is theater.
It is theatrical and musical drama. But where the productions of the first two segments were highly creative but serious, “Siegfried” is playful, fanciful, serious fun.
The tone is set when a somewhat menacingly large, three-nail-claw and an eye of Fafner, the giant-turned dragon who guards the ring, appear under the curtain and draw audience laughter. The curtain then rises to reveal Siegfried’s playroom of oversized art work and children’s furniture including a tall playpen.
The movement towards the impending doom of the gods that began with the stealing of a ring in ‘Das Rheingold,’ creeps forward in ‘Die Walküre,’ the second opera of Wagner’s famed four-part Ring cycle.
For those attendees at Lyric’s ‘Walküre’ production who are not familiar with the story, a guilt-ridden Wotan, king of the gods, brings people up to date.
Sung by the fine base-baritone, Eric Owens, Wotan admits to succumbing to the greed, lust and love that trapped him in decisions he detests now, such as allowing his bastard mortal son, Siegmund (Brandon Jovanovich) to die in battle as demanded by his wife, Fricka, ((Tanja Ariane Baumgartner).
How audiences feel about the second part of the story as it unfolds, depends on how they relate to its characters.
If they care that Fricka, goddess of marriage vows, feels dishonored by husband Wotan’s actions and those of Siegmund who rescued his twin sister, Sieglinde (Elisabet Strid) from a forced marriage to Hunding (Ain Anger), they may feel she is justified in her demands.
If they love warrior-maiden Brünnhilde, Wotan’s favorite Valkyrie daughter endearingly played and beautifully sung by Christine Goerke, they will dislike Fricka and wish Wotan could stand up to his wife.
The set, designed by Robert Innes Hopkins (originally designed by the late Johan Engels) is excellently evocative of spring in Act I where Siegmund and Sieglinde fall in love and realize they are brother and sister. In Act II, its darkness equates with the power struggles between foes and the gods. Act III offers the overly bloody hero’s hall of the Valkyrie maidens.
Brünnhilde’s and other Valkyrie’s transportation are delightfully manipulated and a fun part of the opera.
However, the death minions carrying black wreaths move in a silly fashion that distracted from the serious scene when Brünnhilde at first tries to dissuade Siegmund from fighting and begs that he come with her to Valhalla as a hero.
Sir Andrew Davis, conducting the Lyric Orchestra, did justice to Wagner’s heroic score.
Directed by David Pountney, this is a new production with interesting costumes by Marie-Jeanne Lecca reminiscent of early last century.
DETAILS: ‘Die Walküre’ is at the Lyric Opera of Chicago, 20 N. Wacker Dr., Chicago, through Nov. 30, 2017. Running time is about five hours that include two 30 minute intermissions. For tickets and other information visit call (312) 827-5600 and visit Lyric.
The Lyric Opera of Chicago starts its next season Sept. 23, 2017 but you can get a sneak peek on Sept. 8 at 7:30 p.m. with Stars of Lyric Opera at Millennium Park.
A free concert in the Jay Pritzker Pavilion, 201 E. Randolph St., Chicago, the preview includes arias from ‘Orphée et Euridice,’ ‘Rigoletto,’ ‘Die Walküre,’ ‘The Pearl Fishers’ and ‘Faust,’ among others.
Led by Maestro Andrew Davis conducting the Lyric Opera Orchestra and Chorus, the program features such stars as Andriana Churchman, Dmitry Korchak, Eric Owens and Matthew Polenzani.
The concert will also be live on 98.7WFMT and at WFMT.com
The operas listed for the preview offer just a glimpse of the Lyric’s exciting 2017-18 season. The complete opera schedule exhibits a wide range of styles, moods and composers from Bizet and Mozart to Verdi and Wagner.
‘Orphée (Orpheus) and Eurydice’
By Christoph Willibald Gluck, the opera features The Joffrey Ballet, Sept. 23-Oct. 15, 2017. This is the Paris version directed and choreographed by John Neumeier. It is about the mythological Greek musician/poet, Orpheus, trying to bring back his wife, Eurydice, from the Underworld.
By Giuseppe Verdi, Oct. 7-Nov. 3, 2017, the opera centers on the revenge-bound, tragic court jester, Rigoletto, daughter Gilda and the evil Duke of Mantua. Opera goers will recognize Mantua’s “La donna è mobile,” Gilda’s “Caro nome” and the opera’s famed quartet.
By Richard Wagner, Nov.1-30, 2017, the opera continues the Lyric’s Ring cycle which started in 2016 with ‘Das Rheingold.’ Wagner’s powerful music exemplifies the strong emotions and character traits of Siegmund, Sieglinde, Brünnhilde, Wotan, Fricka and Hunding.
‘The Pearl Fishers’ (Les pêcheurs de perles)
By Georges Bizet, Nov. 19-Dec. 10, the opera includes this writer’s favorite duet for tenor and baritone. The opera takes place in Ceylon where two friends fall in love with priestess Leila.
By Giacomo Puccini, Dec. 5, 2017-Jan. 27, 2018, the opera is a fairy tale that takes place in China where the princess asks suitors to answer three riddles. Incorrect answers lead to execution. The opera features the popular aria, “Nessun dorma.”
By Vincenzo Bellini, Feb. 4-28, 2018, is a bel canto opera calling for exceptional technique as it tells the story of lovers in a England divided by the 1600’s civil war.
‘Cos fan tutte’ (The School for Lovers)
By Wolfgang Amadeus Mozart, Feb. 17-March 16, 2018 the opera is a delightful light treat that works well on the heels of ‘I Puritani’s’ high drama. Mozart’s tale delves into intrigue worthy of Shakespeare’s comedies.
By Charles Gounod, Mar. 3-21, 2018, the opera revolves around the consequences of selling one’s soul to the devil. A popular story told in the Grand Opera style, it includes Marguerite’s “Jewel Song” and an exceptional final trio.
‘Jesus Christ Superstar’
By Andrew Lloyd Webber and Jim Rice, Apr. 27-May 20, 2018, the season ends with what has become a Lyric tradtition – a Broadway musical production. This season the show is Webber’s rock opera,
The Lyric Opera is at the Civic Opera House, 20 N. Wacker Dr., Chicago. For additional programs and ticket information visit Lyric or call (312)827-5600.
It’s likely you have heard of German composer Wilhelm Richard Wagner and some of his operas such as Lohengrin, Tristan und Isolde, Die Meistersinger von Numrnburg and of course, the four-opera cycle of Der Ring des Nibelungen. But if you want more insight into Wagner and the Ring as viewed through The Second City’s magnifying glass, try to snag a ticket to “Longer, Louder Wagner – The Second City Wagner Companion,” playing only this weekend in a Lyric Opera rehearsal room.
The Lyric Opera of Chicago has opened its 2016-17 season with a remarkable Das Rheingold. Surrealistic set design and creative direction has produced an introduction to Richard Wagner’s Ring cycle (The Ring of the Nibelung) that is as much a theater experience as it is opera. But glorious voices and Wagner’s stirring music remind audiences that Wagner’s combination of German and Norse myths-based epic tales of gold, greed and gods is indeed, exciting, dramatic opera.