And now, what you've all been waiting for (LOL) -- my report on this year's instalment of Edmonton Opera's gradual staging of Wagner's entire Ring Cycle! If you want to read about the previous instalments, click here.
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The Plot:
This third opera in the Ring Cycle is all about "The Hero's Journey" of self-individuation and self-actualization. Accordingly, its young protagonist, Siegfried, starts out as an immature, know-nothing idiot. He doesn't know his parentage (the doomed Siegmund and Sieglinde, who died in the second opera) or his family connections (the mighty but treacherous god Wotan, who is his grandfather). Siegfried is a quintessential "dudebro" -- self-centred, arrogant, callous, brash and, consequently, fearless. But in his favour, he is also guileless and keen to understand the world better.
For that purpose, Siegfried reforges his father's broken sword and goes off to kill the dragon Fafner who hoards a vast treasure trove plus the Ring of Power (from the first opera). Having now tasted blood, Siegfried can suddenly understand the language of a helpful woodland bird who advises him what to do next. In symbolic terms, Siegfried matures and learns to listen to and understand his inner voice of guidance. He is growing up, but still knows no fear.
Siegfried then goes off to rescue the valkyrie Brünnhilde, asleep on a mountaintop behind a curtain of magical fire as Wotan's punishment for her disobedience in opera two. Still fearless, Siegfried proves himself a worthy hero and claims the valkyrie as his bride. The opera ends with the pair's ecstatic love duet. And it is Brünnhilde who finally teaches Siegfried the meaning of fear, namely, the fear of losing her love and his place in her life. The hero has now achieved full maturity.
The Staging:
The minimalistic set was back, dominated by its usual huge round suspended screen for special effects videos and subtitles, with the Edmonton Symphony Orchestra tucked in behind it.
The costumes were back to being modern again. The dragon Fafner's costume looked positively steampunk, as pictured in this next photo. And Wotan, in disguise as "The Wanderer," looked like he was stepping out for a business lunch or something.
The cleverest part of the staging was the use of children's toys and imagery in the first Act to represent Siegfried's immaturity -- a great big teddy bear, a light sabre sword (so Star Wars), a kazoo, and a yoyo. I also appreciate that Wotan's walking staff glowed with a neon accent and was forked -- like his lying tongue.
The Music and Singing:
Young Siegfried proved to be a good dramatic tenor. This pared-down opera does not demand the sheer physical and vocal endurance of the typical Wagnerian heldentenor usually cast in that role. I thought Brünnhilde and Fafner both shone in their respective roles.
The Gods in Valhalla Get a Reprieve From Their Downfall:
The Ring Cycle's fourth and concluding opera is Götterdämmerung (The Twilight of the Gods). But it will not be staged next year, alas. Its date is TBD -- "to be determined." Last year, Edmonton Opera took a major financial bath when a new Canadian opera it had commissioned, cast and staged had to be cancelled at the last second right before opening night for reasons beyond its control. Until grants and income rebound from that disaster, Wagner will have to wait. I hope The Twilight of the Gods does get staged sooner rather than later, though.
On the bright side, I have tickets to next year's The Magic Flute, a favourite opera of mine, so at least that's something to look forward to.
[All production photos by Nanc Price]
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