I was in New York to see the Metropolitan Opera’s new production of Richard Wagner’s Das Rheingold, the first part of his four-opera masterpiece Der Ring des Nibelungen (“The Nibelung’s Ring”). After 20 years of what many consider the Met’s best production, the Met staff decided it was time for a change, and this new version is being debuted as part of the 2010-11 season opener. The second in the series, Die Walkure, will premier in the spring, and the last two will debut in the 2011-2012 season.
Change isn’t always digested well, but life cannot remain stagnant, so neither can an opera. For the marathon operagoer, for whom seeing this production usually takes four days and about 14 hours, it’s always interesting to see what a new director will do to a traditional story.
The tradition is, in short, that a lowly dwarf steals gold and creates a ring which gives him world power. The gods interfere and, in trying to prevent disaster, bring the end of their reign on themselves. There are complications, of course, such as a curse on the ring, mortals falling in love with the wrong people, manipulation, murder and a giant who becomes a dragon just to guard the ring and the amassed treasure that goes along with it.
The most popular adaptations keep some of the mythical elements, such as taking place in forests, but modern versions have gods in business suits or characters in outer space. Audiences may cheer or pooh-pooh the ideas, and the Ring is one opera that can make or break a company budget.
This production includes a major all-purpose prop: dubbed “the machine,” the set consists of a 45-ton centerpiece that includes 24 planks which can be moved to various angles to serve as a projection screen or scenery (or both). A touch sensitive computer program allows the actors to touch parts of the screen and cause movements on the projections. For example, the fire god Loge produces flame effects with each step he takes on the planks. There is a “gutter” between the machine and the edge of the stage, into which performers can move or land if they do stunts like slide down the machine’s inclines.
The performers were all top notch and included Bryan Terfel and Stephanie Blythe as the gods, and Eric Owens as the dwarf Alberich. At the podium is the great conductor James Levine, who celebrates 40 years conducting the Met’s magical orchestra.
Without seeing the entire production, I reserve judgment on whether this new vision of Wagnerian culture will be a hit, but having been entranced by the Ring since childhood, I welcome the chance to see what new and magical imagery can be brought to life. It’s what makes opera relevant in any century.
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