Siegfried Review: A Captivating Wagnerian Experience in London
The Royal Opera House in London has once again proven its mastery of classical repertoire with Barrie Kosky's production of Siegfried, the third opera in Wagner's monumental Ring cycle. This invigorating and mesmerising staging boasts an outstanding performance by Andreas Schager in the title role, supported by an excellent cast and orchestral playing that captures the score's complex colours with precision and depth.
A Mythical and Thoughtful Production
From the moment the curtain rises, Kosky's thoughtful and deft direction places the naked ancient earth goddess, Erda, centre stage, portrayed by octogenarian actor Illona Linthwaite. Her silent but mesmerising presence throughout the opera's four-and-a-half hours adds a mythical aura to the production. In Rufus Didwiszus's sets, scenes play out on a very human level, with Erda's omnipresence suggesting she may be actively directing events to outfox Wotan, armed only with a watering can and a handbag full of feathers.
The production's narrative depth is enhanced by a cast of singing actors who expertly carry the long dialogue scenes, making Siegfried the most conversational episode of the Ring cycle engaging and dynamic. Christopher Maltman delivers a velvet-toned, coldly calculating Wotan, while Peter Hoare's straggly Mime and Christopher Purves's bitter Alberich add stark contrasts, arguing like tramps on a park bench in the grey, dark second act.
Outstanding Performances and Vocal Brilliance
Andreas Schager makes an extraordinary house debut as Siegfried, with a clarion tenor that seems calibrated to a louder, freer, and clearer setting than anyone else's. His invigorating performance is tireless, and there is never a sense that conductor Antonio Pappano has to restrict the orchestra to accommodate him. On the contrary, the orchestral playing under Pappano's direction captures all the complex colours of Wagner's score, highlighting moments of light without underplaying its swathes of shade.
Other notable performances include Wiebke Lehmkuhl, who gives sonorous voice to Erda, and Elisabet Strid, who sings Brünnhilde in a gleaming soprano that is fresh-sounding if slightly earthbound. Soloman Howard's Fafner, costumed by Victoria Behr in a fabulous suit of glittering stalagmites, adds visual splendour, looking as if he has covered himself in glue and rolled in Christmas decorations.
A Deft and Serious Artistic Vision
Kosky and Pappano appear absolutely of one mind in this production, unfolding a Ring cycle that is serious in its intent yet deft in its touch. The thoughtful staging, combined with the excellent cast and orchestral mastery, makes this Siegfried a must-see for opera enthusiasts. The production runs until 6 April, with live cinema broadcasts starting from 31 March, offering audiences worldwide a chance to experience this Wagnerian triumph.
This production not only revitalises Wagner's classic but also sets a high standard for future operatic performances at the Royal Opera House, cementing its reputation as a leading venue for classical music and opera in London.
