MozartGalbraith

Eleanor of Aquitaine, “Grandmother of Europe,” turned her court at Poitiers into a hub of troubadours and poets while marrying her descendants into royal houses across Europe, leaving a legacy of art, culture, and dynastic power.

Mozart’s in Covent Garden (5): Siegfried – Richard Wagner I was at the Royal Opera House yesterday for the premiere of the new production by Barrie Kosky, with musical direction by Antonio Pappano. This was a fabulous premiere. Kosky has created a fresh, engaging, and at times genuinely funny production (who knew that Wotan, the king of the gods, was partial to Walkers salt and vinegar crisps?). In my view, Kosky is absolutely at the top of his game and without equal. I was fortunate to spend a few moments with him before the start; he was utterly charming, and we shared a joke I’ve been telling my fellow Wagnerians for the past few years. Under Pappano, the orchestra was magnificent. The leitmotifs were crystal clear, and the musical flow across the four hours felt exactly as Wagner would have wanted. Siegfried is the third opera in the four-opera Ring cycle, Das Ring des Nibelungen, and the brilliant Kosky and beloved Antonio Pappano are in the third year of four year project to bring a new Ring cycle for the Royal Opera House. The opera is extremely demanding for the singers, with long stretches of singing—over an hour in some roles—above a full orchestra, often without a break. I am delighted to report that the entire cast were superb. Andreas Schager, making his Covent Garden debut in the title role, was next level; his energy and vocal power were phenomenal. I was fortunate to hear him in Bayreuth at last year’s festival, singing the role of Parsifal. The vibrant, youthful approach he brought last night gave a thoroughly modern feel to one of the most significant figures in German medieval myth. Christopher Maltman, as the Wanderer/Wotan, delivered another commanding performance following his roles in Das Rheingold and Die Walküre over the last two seasons. Peter Hoare, as Mime, acted and sang brilliantly, bringing the scheming, bumbling dwarf to life; his interplay with Schager worked particularly well. Soloman Howard projected a powerful voice and quite simply created the most glizzy dragon I have ever seen. Elisabet Strid, as Brünnhilde, had to wait until the final thirty minutes to make her impact—but she did so in spades. Her duet with Siegfried was truly glorious, and Pappano and the orchestra were at their peak during this closing section. Ilona Linthwaite deserves a special mention as Erda (Mother Earth). Spending almost the entire opera naked on stage, she is a visual thread running through Kosky’s interpretation of the cycle. Truly a wonderful Wagnerian evening, brought to life by great creatives. Who would think that opera isn’t relevant any more? The production will also be in cinemas in a couple of weeks—do try to see it if you can. MG