The Bavarian State Opera’s Bold New Rheingold – A Cheeky Review
Well, hold on to your hats, folks! The Bavarian State Opera unleashed the first acts of Wagner’s Ring of the Nibelung with Rheingold, and let’s just say it was as rich as a 70s disco ball! Directed by the formidable Tobias Scratch, this production is expected to last until 2027. Who knew watching Wagner could be a long-term commitment? It’s like signing up for a gym membership – you know it’s going to be exhausting, but the promise of a toned physique (or a well-fed musical intellect) keeps you coming back for more.
A Stunning Visual Experience
Our friend Tobias Scratch (remarkably, not his real surname) has woven together powerful imagery that’s as fluid as my dance moves on a Saturday night. He and his stage outfitter, the aptly named Rainer Sellmaier, have crafted something visually mesmerizing. Seriously, there were moments when I thought I’d accidentally stumbled into a modern art exhibit instead of an opera. You know you’re onto something when the scenery is more fabulous than your Aunt Edna’s wedding cake.
Existential Crises and Attire Choices
Now, let’s dig a little deeper before I end up quoting Nietzsche while simultaneously balancing a drink on my knee. It seems Scratch had a ball pondering life, mortality, and the curious case of why Wotan has such lousy fashion sense. Initially, we’ve got Alberich, the mortal anti-hero who’s drowning in the existential dread – and let’s be honest, when you start trying to off yourself with a pistol in the opening scene, it’s not a perfect Tinder advert. Instead, we’re treated to a modern twist: the Rhinemaidens as spirited, contemporary girls who really aren’t helping the poor fella. Instead of angelic beings, they look like they just popped out of a club scene in Berlin.
The Death of God… and a Few Other Things
As Scratch bounces through themes of religion and atheism, we’re boldly greeted with God is dead slapped across the stage like a bold statement at a social media influencer summit. It’s practically a tweet waiting to happen! The gods, now all but washed up, look like they’ve wandered off the pages of a stale fairy tale. Wotan, with that ridiculous winged helmet, somehow manages to resemble both a wannabe superhero and your granddad in a particularly daring outfit.
A Journey from New York to Gothic Cathedrals
And then—as if I wasn’t entertained enough—Wotan and Loge hit the skies, trading their majestic capes for a street suit that screams “midlife crisis on a budget.” Their jaunt to New York is not the architecture tour you’d imagine, but somehow Wotan seems more concerned with the window prices at Starbucks than his divine mission. Who wouldn’t? Talk about a cultural shift! But hey, at least Alberich seems to have upgraded his living situation from a cave to a garage. Progress, am I right?
Musical Magnificence
On the musical front, the Bavarian State Orchestra, under the astute direction of Vladimir Jurowski, has me feeling some type of way. Yes, the tempos were a bit leisurely, which is great if you’ve had a long day and need a nap—but when it comes to Wagner, I mean, how many intermissions do we need in a single evening? Brilliantly tense and refreshingly analytical, Jurowski’s conducting had me both rapt and nodding off.
A Cast Dressed for Success (and Failure)
And let’s not forget the cast! Nicholas Brownlee snagged my heart as Wotan. His voice is like butter melting on warm toast—absolutely delish! But then we have Markus Bruck as Alberich, who, while he threw himself into the role, came off more as a dejected contestant from a singing competition than a tragic figure. By the time we got to the full nudity, I thought perhaps I had walked into a performance art piece instead of an opera!
The gods might be immortal, but it seems their singing careers might not be! The whole cast from Matthew Rose to Ekaterina Gubanova held it together like a well-made strudel – and trust me, that’s not just a compliment here in Bavaria!
Conclusion: Expect the Unexpected
So, hats off to the Bavarian State Opera for redefining Wagnerian performance. Grab your tickets and prepare for a theatrical ride that’s part opera, part existential crisis—because who wouldn’t want to ponder the meaning of life over a good dose of melodrama? I know I will be lining up every season till 2027!
Dare to watch the trailer? Click here and get ready for some Wagnerian magic!
—Ludwig Steinbach, November 4, 2024
© Wilfried Hösl
The Bavarian State Opera has launched a dazzling new production of Rheingold, marking the initiation of the entire Ring of the Nibelung cycle, with performances scheduled to continue rolling out until 2027. Each season will introduce a new installment of this famed tetralogy, and excitement surrounding the forthcoming evenings is palpable as expectations are high for the remaining presentations. Director Tobias Scratch, in collaboration with set designer Rainer Sellmaier, has crafted an exceptional visual journey that seamlessly integrates powerful imagery with innovative character direction. Every moment captivates, consistently holding the audience’s attention without any dull interludes. The remarkable talent of director Schocker shines through in this ambitious undertaking at the National Theater in Munich, leaving audiences eager for his future projects.
Scratch explores profound themes that anchor the production—pondering mortality and immortality through the lens of its characters. The immortality of the gods starkly contrasts with Alberich’s awareness of his own mortality, compelling him to make the most of his fleeting existence. This desperation drives him to a harrowing suicide attempt, which fails tragically. The Rhinemaidens, portrayed as modern women, initially breathe new hope into his life, only to ultimately toy with his emotions. The act of robbing the Rhine gold morphs into a defiant statement, observed by the ever-cynical Loge, portrayed as a chain-smoking analyst, reminiscent of Chekhov’s nuanced storytelling. Alberich’s brutal act of shooting the Rhinemaidens underscores the desperation of his situation, culminating in one of them needing assistance, symbolizing a harsh reality.
© Wilfried Hösl
Director Scratch dives deeper into existential questions on religion and atheism, revealing these themes as pivotal to the narrative’s framework. The inscription of Nietzsche’s famous proclamation God is dead sets a profound tone early in the opera. Feuerbach’s projection concept serves as a critical backdrop, with Loge representing a modern existential despondency donned in black. The portrayal of the gods’ declining relevancy is stark; their old-world aesthetics evoke a bygone era, exemplifying a God that has faded into irrelevance. Wotan, characterized by a winged helmet, cape, and spear, embodies a fading glory. The grand Gothic cathedral where the gods reside appears in urgent disrepair, underscoring their indifference towards the dilapidation around them, reflecting their immortal nature and lack of urgency for maintenance. Only the two priests, Fasolt and Fafner, linger in this space, having forsaken the old God to pay homage to revived Germanic deities, humorously noted by their statement on a poster: Your Valhalla/Your Wotan.
Wotan’s fluctuating power becomes a recurring theme, highlighted through effective visual storytelling in the staging. In a striking scene, Alberich is portrayed in a modern New York setting, prompting Wotan and Loge to embark on a metaphorical journey through urban landscapes, often depicted in film sequences that capture their travels. To blend into contemporary society, Wotan sheds his archaic attire for a street suit, confronting the modern world with mixed feelings. Alberich’s lair transforms into a chaotic mix of surveillance equipment and weaponry, with Mime, assigned a dog, remaining a constant threat on stage, ultimately witnessing the confrontation between Wotan, Loge, and Alberich. The comedic struggles of navigating customs with their peculiar cargo—a transformed Alberich—bring a whimsical touch to the narrative, showcasing the challenges the gods face in a contemporary context.
© Wilfried Hösl
Upon returning to the cathedral, Alberich receives the definitive degradation at Wotan’s hands. Stripped of his identity and clothes, he becomes a symbol of vulnerability, which is poignantly illustrated through his curse sung in this moment of utter despair. The depth of Alberich’s humiliation resonates with the audience, evoking sympathy for a character once feared. Following a gripping scene, Freia endures her own torment as she is suspended by Fafner, forcing the gods to create a precarious platform beneath her for her survival. This imagery leaves a lasting impact. Erda, depicted as a wise old woman, hands over the ring, revealing a vision of possible doom that hangs over the Aesir unless Wotan relinquishes his claim. Ultimately, Wotan’s reluctant decision to surrender the ring leads to an unforeseen twist: Fafner’s violent act against Fasolt. The conclusion finds the gods taking their places in the reimagined cathedral altar, now a resplendent representation of Valhalla as they prepare to face a new audience marveling at their presence.
Under the baton of the astute GMD Vladimir Jurowski, the Bavarian State Orchestra delivered a performance characterized by broad, measured tempos that reveal the intricacies of Wagner’s formidable score. Jurowski’s nuanced approach diverged from traditional interpretations, echoing influences akin to Pierre Boulez rather than Wilhelm Furtwängler. The tension he injected into the performance balanced with transparency, creating a compelling auditory experience marked by analytical precision.
© Wilfried Hösl
Prominent among the cast was Nicholas Brownlee, cast in the role of Wotan, whose emergent career is marked by a rich, sonorous baritone that engaged audiences with its dynamic range and emotive delivery. His portrayal of the father of the gods was convincing both vocally and dramatically. Equally commendable was Markus Bruck in the role of Alberich; he embraced the character with fervor and emotional intensity, notably willing to fully commit to the role’s extremes of nudity. Vocally, however, his performance leaned more towards declamation than singing, highlighting parsed tones rather than lyrical expression, while Sean Pannikar as Mime showcased the limitations of physical dynamics in his vocal delivery. Another standout was Matthias Klink, whose portrayal of Mime added depth, while Ekaterina Gubanova commanded attention as a robust Fricka. Wiebke Lehmkuhl debuted with authority in the role of Erda, while the giants were effectively embodied by Matthew Rose as Fasolt and Timo Riihonen as Fafner. Ian Koziara held promise as Froh, supported by Milan Siljanov in a commendable thunder role. The trio of Rhinemaidens, featuring Sarah Brady (Woglinde), Verity Wingate (Wellgunde), and Yajie Zhang (Floßhilde), delivered a homogeneous blend of voices that concluded the performance on a high note with their magnificent sound.
Ludwig Steinbach, 4. November 2024
The Rhinegold
Richard Wagner
Bavarian State Opera Munich
Premiere: October 27, 2024
Performance attended: October 31, 2024
Production: Tobias Scratch
Musical direction: Vladimir Jurowski
Bavarian State Orchestra
Signs of disconnection in a relationship
A raw expression rather than melodic beauty, at times reminiscent of a dramatic competitor rather than a fully realized tragic figure. This disconnect occasionally detracted from the emotional weight of the character’s plight.
Supporting this powerful duo were notable performances from Ekaterina Gubanova, who portrayed Fricka with grace and authority, while Matthew Rose brought a notable depth to the role of Fasolt, underscoring the nuanced dynamics of power and vulnerability. Each member of the ensemble contributed a unique flavor to the evening, with their collective artistry enhancing the overall spectacle.
Ultimately, director Tobias Scratch and his visionary crew have not only reimagined Wagner’s ambitious work but have also curated an experience that resonates with contemporary audiences. The Bavarian State Opera’s production of Rheingold is both a mesmerizing retelling and an exploration of timeless themes, inviting viewers to question the intersection of divinity and humanity in a modern context.
As I left the theater buzzing with adrenaline and pondering existence, I couldn’t help but feel grateful for the artistic evolution happening before our eyes. With a sense of eager anticipation, I cannot wait to see what the subsequent additions to the Ring of the Nibelung cycle will unveil, knowing that each performance is stepping boldly into unknown territory—challenging perceptions and expectations with every note.
So, whether you’re a Wagner aficionado or a curious newcomer, don’t miss this transformative experience. Who knows—perhaps it will inspire you to don your own daring outfit and reinvent your personal narrative. After all, aren’t we all searching for a bit of magic in our own *Rheingold* journey?