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You got a brand new key signature

You can call Robert Lepage many things (and the critics have!), but one thing you cannot call him is “inflexible.” Having already tweaked a number of details in his Ring production that did not create the desired effect in their first viewing, the Canadian Cagliostro is now in the process of restaging whole segments of the cycle for the Met’s 2012-13 presentation. A glimpse at the new look for the final scene of Die Walküre after the jump.

35 comments

  • ianw2 says:

    And yet its still more compelling theatre…

  • A. Poggia Turra says:

    Is that supposed to be Kaufmann’s restudied costume?

    I thought he already made it clear he does NOT want to be shirtless in Wagner on the Met stage…..

  • Maria Malcontent says:

    I just love interpretive dance.

  • Will says:

    A bit more seriously, if true is this not the same sort of approach to staging serious work that has applied to Bayreuth whereby a director is engaged, in effect, for the run of the production over a five year period with the expectation of constant evolution? In Wieland and Wolfgang’s time, that development could and did extend to entire new sets, as in the new third act of the Chereau Walkure the second season of the production.

    Is it possible to “fix” the MET’s Ring or is its underlying lack of any identifiable directorial vision beyond improvement by this particular director?

  • pasavant says:

    It could work!

  • Nerva Nelli says:

    Following the suggestion of one reviewer I read somewhere in re The Machine (*so* beloved by the backstage crew, as per Mr. Glib):

    • SacredMonster says:

      And the award for best sense of Humor goes to…… NervaNellie, I literally just spit out my coffee……Good on you!!

  • PokeyGascon says:

    It has worked before.

  • Sempre liberal says:

    Oh my god — I love it.

    I actually have spent countless hours playing the final scene of Walkure in a piano solo version. I love immersing myself in the music via transcriptions.

    Playing Wagner on the piano, one can see his temendous harmonic and melodic debt to Chopin.

    Playing Bellini on the piano, one can see Chopin’s tremendous harmonic and melodic debt to Bellini.

  • tannengrin says:

    wheels or not

  • DonCarloFanatic says:

    The skaters lost me when they imitated the moves acrobats did while holding on with their TEETH.

  • Quanto Painy Fakor says:

    SO BEAUTIFUL!!! Is that the Liszt transcription of the Magic Fire music? How difficult that pas de deux must be to do on a circle with a 4 foot radius. Must find more of that Wotan.

  • derschatzgabber says:

    No matter how many times I studied this video, I couldn’t figure out the dramatic motivation for Victor to remove his shirt. Then it dawned on me that this must really be Le Page’s new Act III finale to Walkure, since it features a spectacular image that isn’t motivated by the drama.

  • erica says:

    It’s kind of like Dyson, the hot werewolf on Lost Girl. My husband and I take bets each week on what flimsy excuse they’re going to come up with to get him to take off his shirt THIS episode.

    (This week was a bonus — wet, translucent shirt first, THEN he pulled it off. Almost more than my middle-aged heart can take.)

  • derschatzgabber says:

    For us old timers, there is also William Holden in Picnic. My did his shirt fly off at the slightest provocation. I saw it at the Castro many years ago. In one scene, William is trying to explain something to a baffled elderly lady. Someone in the audience yelled, “see if it helps if you take your shirt off.”

    • Clita del Toro says:

      I hate the fact that they shaved William Holden’s body/chest hair for Picnic. He would have been twice as sexy with it. That’s Hollywood for you.

      • derschatzgabber says:

        I agree Clita, more body hair would have been nice. Still it was more naked, male torso than most movies of its time would give us. And it’s got enough screen time to have earned a supporting Oscar nod IMHO.