Los Angeles Opera gives zing to ‘Ring’
By Juliet Schoen
Special for The Malibu Times
If Richard Wagner is rolling over in his grave, it’s because he’s laughing so hard.
Los Angeles Opera has produced a mind-boggling production of Wagner’s “Das Rheingold,” first in the tetralogy called “Ring des Nibelungen.” Achim Freyer, the German artist whose previous works here have not been well received (by me), has come through with a wild, off-the-wall creation that works perfectly with the mythic story of dwarfs, giants, gods and sundry larger-than-life characters.
He will follow this tour de force by designing the other operas of the “Ring,” with “Die Walkure” due on April 4, and the two final operas scheduled for next year. Freyer, who is director, designer and general factotum, will be in charge of all the productions. That will be something to look forward to. The presentation of the entire cycle is considered a coup for the Los Angeles Opera under its general manager Plácido Domingo.
Freyer has created a raked, circular disc for the stage and the gods are encased in huge costumes from which they can emerge. Fricka, wife of the god Wotan, has long, imploring arms. The dwarf, Alberich, has a huge head and walks with lifted boots. A fanciful red costume, with four arms, fits the clever fire god, Loge. Clever devices are used to project the mythic characters and other legerdemain excites one’s imagination.
The cycle deals with the quest for power as symbolized by the ring, which is stolen from the Rhine maidens by Alberich. When Wotan obtains the ring, through the cunning of Loge, the dwarf places a curse on the ring. A story of this kind can lend itself to the outrageous costumes and makeup devised by Freyer with assistance of her daughter, Amanda Freyer. Fortunately, the super titles lead viewers through the maze. However, an open mind is needed for viewing this opera, which will undoubtedly be disturbing to traditionalists.
The thematic music by Wagner is gorgeous, evoking all the nuances of the fairy tale, from the roar of the dragon to the clinging of the hatchets of the dwarfs digging for gold. James Conlon and the Los Angeles Opera Orchestra are up to the daunting task.
The singers, who will appear in all four operas, are excellent. Heading the cast is the Ukrainian bass Vitalij Kowaljow as an impressive Wotan. His wife, Fricka, is sung by mezzo-soprano Michelle DeYoung with heartfelt ardor. Arnold Bezuyen is a delight as the wily Loge, Gordon Hawkins stands out as Alberich and Graham Clark is his devious brother, Mime.The Rhine maidens are real charmers as sung by Stacey Tappan, Lauren McNeese and Beth Clayton.
The Los Angeles Opera deserves to be proud!