This is what trauma looks like
Valentin Schwarz‘s and Simone Young‘s Ring, in its final outing at Bayreuth, is dramaturgically messy and musically excellent.
Catherine Foster
8 pieces since 2013 — in 1 role, at 3 companies, most often at Washington National Opera.
8
pieces
1
role
3
companies
14
years
By role
Role Brünnhilde
A choice, not an ecosystem
Washington National Opera’s first Ring Cycle came to a bittersweet conclusion this past Sunday, closing the door on an extraordinary three weeks in the opera house and a remarkable musical and theatrical achievement for the company.
That ’70s show
Washington National Opera followed up Monday’s lavishly praised Die Walküre with a Siegfried that, if not quite rising to the summit of the previous installment, delivered a musically committed and eminently watchable version of this complicated work.
Special guest Heldenreizerin
WNO’s first complete Ring Cycle continued Monday evening with a revamped version of the Die Walküre first seen at the Kennedy Center in 2007.
No one who speaks German could be an evil man
If Frank Castorf‘s work on Der Ring des Nibelungen at Bayreuth accomplishes nothing else, it should serve as a sort of loud disorganized reminder of the dangers of indulging in the intentional fallacy.
Ring? What ring?
All right, I admit it; I finally broke down and read the program notes for the Ring in the Bayreuth program book.
The Platz thickens
I’m told that the public were, if hardly enthusiastic, at least ambivalent toward the Frank Castorf Ring up until the first performance of Siegfried, at which point things got really ugly and the booing started in earnest.