Po3 Fri: Rheingold from Leeds

[ostuni]

Us Wagnerians are having a rich time recently: after the Paris Rheingold & Walküre, and the webstreaming of Glyndebourne's Meistersinger, Friday's Po3 brings Opera North's Rheingold from Leeds Town Hall. Well worth tuning in for - I saw it in Birmingham last Friday. Some great orchestral playing (this isn't centrally relevant to R3's broadcast, of course, but they're concert performances with the orchestra on stage, very much in view: see ON's photo album).

And some spectacular singing. Wolfgang Ablinger-Sperrhacke, Paris's superb Mime, is here a wonderful Loge. James Creswell's Fasolt is absolutely beautifully sung. It's Michael Druiett's first Wotan: I'm sure it won't be his last.

[amateur51]

Us Wagnerians are having a rich time recently: after the Paris Rheingold & Walküre, and the webstreaming of Glyndebourne's Meistersinger, Friday's Po3 brings Opera North's Rheingold from Leeds Town Hall. Well worth tuning in for - I saw it in Birmingham last Friday. Some great orchestral playing (this isn't centrally relevant to R3's broadcast, of course, but they're concert performances with the orchestra on stage, very much in view: see ON's photo album).

And some spectacular singing. Wolfgang Ablinger-Sperrhacke, Paris's superb Mime, is here a wonderful Loge. James Creswell's Fasolt is absolutely beautifully sung. It's Michael Druiett's first Wotan: I'm sure it won't be his last.

I attended the opening performance in Leeds and I agree that the orchestra was wonderful and that Wolfgang Ablinger-Sperrhacke was outstanding as Loge - he was spot-on physically too. The Mime was good too and the Fricka & Erde & the giants, although I found the Wotan to be a bit underpowered, even a bit pompous but it was his first night.

I shall certainly try to catch this broadcast to hear how things have developed.

[Chris Newman]

I wish I had seen it. I think the part of Loge is a gem of a role. I always regret that Wagner gave the character nothing else to do in the remainder of the cycle. I much enjoyed Wolfgang Ablinger-Sperrhacke as the Witch in Glyndebourne's Hansel & Gretel last year. He managed so well to combine being hilariously funny with being utterly terrifying. I will listen on iPlayer.

[Flay]

I wish I had seen it.

There are still a few seats available, Chris. I shall be there all alone, like Billy No-mates. Mrs Flay will certainly not be going... She still hasn't forgiven me for taking her to Opera North's Peter Grimes in mid-summer heat, a cramped sweltering seat high in the gods at the Leeds Grand Theatre. I must say I didn't notice the conditions, being completely focussed on the performance; but she sweated and sighed throughout. No friends want to go either.

Actually I'm quite pleased really. I can concentrate and not have to worry about the (dis)comfort of others. Is that being selfish?

[Mandryka]

There are still a few seats available, Chris. I shall be there all alone, like Billy No-mates. Mrs Flay will certainly not be going... She still hasn't forgiven me for taking her to Opera North's Peter Grimes in mid-summer heat, a cramped sweltering seat high in the gods at the Leeds Grand Theatre. I must say I didn't notice the conditions, being completely focussed on the performance; but she sweated and sighed throughout. No friends want to go either.

Actually I'm quite pleased really. I can concentrate and not have to worry about the (dis)comfort of others. Is that being selfish?

Absolutely not. I tend to go to these events alone, if they're outside London. Of all my friends, only one enjoys opera, so I always have a 'companion' for Covent Garden, but never for the provinces.

[french frank]

I can concentrate and not have to worry about the (dis)comfort of others. Is that being selfish?

No, I don't think so. I'm taking two neighbours to the opera in November - she has been once (with me) her husband never. I shall feel obliged to 'look after them' rather than, as usual, hanging over the front rail of the slips and being totaly engrossed.

[Flosshilde]

Actually I'm quite pleased really. I can concentrate and not have to worry about the (dis)comfort of others. Is that being selfish?

I agree with the others - it's not at all selfish. Unless you are certain that they will like the work & the production you will feel aprehensive that they are not enjoying it - not conducive to being able to enjoy it (or not) yourself.

[Eine Alpensinfonie]

I was looking forward to the Opera North Ring cycle so much, and was devastated when it became apparent that it was only to be concert performances. I know the early post-war Bayreuth productions were little more than this, but that was understandable at the time.

Surely the purpose of an opera company is to stage operas? That's why they are written/composed in the first place.

[ostuni]

If you read the explanation on Opera North's website, you'll see why they were unable to stage the Ring at their usual home. The production photos give some idea of the spectacle. I certainly found the Birmingham performance a marvellous experience, and would suggest you try one of the remaining performances and see what you think.

[Flosshilde]

I was looking forward to the Opera North Ring cycle so much, and was devastated when it became apparent that it was only to be concert performances. I know the early post-war Bayreuth productions were little more than this, but that was understandable at the time.

My initial reaction when I heard that ON was doing a Ring cycle was excitement, followed by disappointment when I heard that it was to be a concert performance. That has changed since reading about the 'enhanced' concert performances & thge reviews of the actual performance. I'll definitely booked when they do the complete cycle.

Surely the purpose of an opera company is to stage operas? That's why they are written/composed in the first place.

Not quite - it's to perform operas. & if economics or other circumstances mean that they have to do some as concert performances I'd rather have that than no perfomances at all.

[Eine Alpensinfonie]

Not quite - it's to perform operas. & if economics or other circumstances mean that they have to do some as concert performances I'd rather have that than no perfomances at all.

But of course. However, I'm still very disappointed. The size of the orchestra pit in Leeds Grand Theatre is a limiting factor. I'm just disappointed. That's all. It would be great to stage The Ring in the North of England, even if that meant reducing the size of the orchestra. It's a compromise I'd prefer to dumping the stage.

[Chris Newman]

I agree, Flosshilde. As Richard Farnes said at the beginning there are only two theatres in the north that could take that orchestra in a pit. I was gripped and very impressed by Nicholas Folwell's superb Alberich, Wolfgang Ablinger-Sperrhacke's sparkling and devious Loge and Yvonne Howard's Fricka. Other parts were very promising especially Michael Drueitt's Wotan. It must have been difficult finding enough singers for Rheingold with Glyndebourne's Die Meistersinger currently hogging most of the Brits capable of holding Wagner roles.

Paris may have had the edge on overall interpretation but this Opera North venture must have been thrilling for those who got there.

[DracoM]

Good brisk stuff. Really enjoyed.

[JimD]

Paris may have had the edge on overall interpretation but this Opera North venture must have been thrilling for those who got there.

I was there tonight and can confirm that. I'm not in a position to comment technically but thrilling it certainly was. The 'staging' was minimalist but effective. Indeed it reduced the amount of what opera commentators call 'acting', but which some of us who frequent the theatre proper see as grotesque ham. I enjoyed all of the performances, especially Alberich and Loge, and didn't find Wotan underpowered. Incidentally I wonder whether Leeds is the largest city in the country not to have a decent concert venue: the Town Hall is pretty inadequate.

[Roslynmuse]

Opera North has put on some stunning concert performances in recent years - Tristan in 2001 was totally gripping from beginning to end; Bluebeard's Castle (admittedly easier to put on when you have John Tomlinson looking magnificent on a large throne) in 2005; Elektra in 2009 - all wonderful. The BBC Phil mounted a concert performance of Salome that was mostly perfectly convincing (apart from the Dance of the Seven Veils, where only conductor - Noseda - and orchestra were on the platform, and the very end when a grotesque papier-mache head appeared on the Bridgewater Hall choir seats); the Halle's Gotterdammerung two years ago was unforgettable, and they are following it up in two weeks time with Die Walkure. Another BBC Phil/ B'water Hall opera earlier this year - Otello - was the only concert performance disappointment I've experienced, despite a great Iago (Lado Ataneli) - the Otello and Desdemona didn't have the physical presence to carry the narrative without staging or props. But for everything else my imagination has been free to paint the pictures where staged productions often leave me cold - if I can see some weakness on the stage it's a far greater distraction than making the mental leap from concert dress to my ideal Wagner or whatever.

I suppose it's like radio being superior to television and all that!