![]() Although, given the work’s focus on relationships, as the evening developed I became more aware of interactions between characters in a way that didn’t feel particularly apparent in the previous evening. Far too often, they stared and sang into the middle distance rather than engaging with each other. In many respects, it still felt that the singers were under-directed. Here, however it feels added on, lacking an organic and cogent theatrical argument. Perhaps, as the cycle progresses, things will become more apparent – always a danger in commenting without having seen the whole. And yet, as in Rheingold, it doesn’t quite feel part of a coherent thread. The juxtaposition of the urban setting with the woods undoubtedly makes for an interesting contrast and suggests that in fact, by leaving that rural idyll, Siegmund and Sieglinde were doomed. The sets (Michael Yeargan) are certainly imposing, the second scene of Act 2 set in an underpass which allows Fricka to watch Hunding and Siegmund fight below. The flames in the closing scene were most impressive and the parachuting Valkyries at the start of Act 3 inspired the audience to applause. Over the course of three acts, the settings move from a hut in the woods, to an impressive office with a panoramic window over a cityscape, to an urban wasteland and finally to a military bunker. The strength of Francesca Zambello’s staging remains the same as the previous evening in that, in combination with her creative team, she creates stage pictures that look good. Rather than a large cast with a focus on multiple characters, here the focus is on individuals and their relationships – from burgeoning (incestual) love, to the tension between husband and wife, and the love between father and daughter. Wednesday, June 20th, 2018.įollowing on from last night’s Rheingold, tonight’s Walk ü re offered a slightly different proposition. San Francisco Opera, War Memorial Opera House, San Francisco, California, USA. San Francisco Opera Orchestra / Donald Runnicles.
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