And to be honest, with the likes of Herbert Von Karajan, Peter Schreier, Thomas Stewart, Brigitte Fassbaender, Zoltan Kelemann, and Jeanine Altmeyer I was expecting it to be spectacular. By all means, it is still interesting and well done, just that it still leaves wanting somewhat more.
On the most part it is well done visually. The costumes are authentic and fitting with the opera, story and music(Loge's is incredibly striking and Schreier is unrecognisable in it), and the sets- the very start of scene 1 faring best- are wondrous. The camera work is focused and skillful on the most part, it captures Alberich's intensity very well in particular. But with with a tendency to cut and switch back to the expressions and reactions of some of the performers, especially Stewart's Wotan. In fact, the only real sore spot on a visual front is some of the special effects, which are like a cheap criss-cross of the worst of Doctor Who and Sesame Street(shows I have a fondness for just to let you know). The dry ice, a disembodied Erda in a still photo and the dragon form of Fafner fare the worst in this regard, and the rainbow bridge is so drab it is barely visible. The giants Fasolt and Fafner are very well done though, not exactly 20-foot but the wild hair and such worked wonders. There are also some very nice touches, the descending into Nibelheim, what was done with the Tarnhelm and Fasolt's murder.
Dramatically, the production fares better than most Rheingolds. It isn't without imperfections, excepting Loge the gods are far too statuesque too often(more Karajan than the performers in my opinion), but Fasolt's murder and the trapping of Alberich prove to be very imaginatively and compellingly done.
From a musical point of view, it is a feast for the ears on the most part. True Karajan's tempos are rather staid with a somewhat wallowing effect. But the sounds, dynamics and textures the orchestra make are truly ravishing, rousing at the end, beautiful and mysterious in the prelude and creepily mysterious once inside Nibelheim. And the singing is just fantastic, with only two exceptions. One was Donner, whose pitch was not always secure and when it was insecure it was embarrassingly off. The other was the 2nd Rheinmaiden, whose vibrato is a little too fast, not a huge problem with me usually but here it was a matter of blending with the other two whose voices I found much steadier.
Peter Schreier is just superb as Loge though, he is deliciously sly and ironic and I just love the fresh Lieder-like approach to his singing. Zoltan Kelemann is another standout, he has a dark sonorous sound that is ideal for Alberich, and the sinister and anguished sides to his interpretation allows for an Alberich to be repulsed by and pitied. Thomas Stewart does suffer from the worst of the camera work and the directing, which is why he may be considered wooden perhaps, but there is definitely a nobility and authority there in his Wotan. And he is on top form vocally as well, with gleaming top notes that soar over the orchestration, a rich bronzen tone and his superb musicality, never once did I find him too aggressive. Brigitte Fassbaender sings beguilingly and her Fricka is stylish, witty and elegant. Jeanine Altmeyer's Freia is radiant and affecting, qualities she'd bring to her superlative(on DVD) Sieglinde. Fasolt and Fafner are on booming form, the Rheinmaidens have great voices that don't completely blend well and Erda vocally is appropriately knowing(deserving more than what was done with her on film).
In conclusion, interesting if not spectacular. 7/10 Bethany Cox
On the most part it is well done visually. The costumes are authentic and fitting with the opera, story and music(Loge's is incredibly striking and Schreier is unrecognisable in it), and the sets- the very start of scene 1 faring best- are wondrous. The camera work is focused and skillful on the most part, it captures Alberich's intensity very well in particular. But with with a tendency to cut and switch back to the expressions and reactions of some of the performers, especially Stewart's Wotan. In fact, the only real sore spot on a visual front is some of the special effects, which are like a cheap criss-cross of the worst of Doctor Who and Sesame Street(shows I have a fondness for just to let you know). The dry ice, a disembodied Erda in a still photo and the dragon form of Fafner fare the worst in this regard, and the rainbow bridge is so drab it is barely visible. The giants Fasolt and Fafner are very well done though, not exactly 20-foot but the wild hair and such worked wonders. There are also some very nice touches, the descending into Nibelheim, what was done with the Tarnhelm and Fasolt's murder.
Dramatically, the production fares better than most Rheingolds. It isn't without imperfections, excepting Loge the gods are far too statuesque too often(more Karajan than the performers in my opinion), but Fasolt's murder and the trapping of Alberich prove to be very imaginatively and compellingly done.
From a musical point of view, it is a feast for the ears on the most part. True Karajan's tempos are rather staid with a somewhat wallowing effect. But the sounds, dynamics and textures the orchestra make are truly ravishing, rousing at the end, beautiful and mysterious in the prelude and creepily mysterious once inside Nibelheim. And the singing is just fantastic, with only two exceptions. One was Donner, whose pitch was not always secure and when it was insecure it was embarrassingly off. The other was the 2nd Rheinmaiden, whose vibrato is a little too fast, not a huge problem with me usually but here it was a matter of blending with the other two whose voices I found much steadier.
Peter Schreier is just superb as Loge though, he is deliciously sly and ironic and I just love the fresh Lieder-like approach to his singing. Zoltan Kelemann is another standout, he has a dark sonorous sound that is ideal for Alberich, and the sinister and anguished sides to his interpretation allows for an Alberich to be repulsed by and pitied. Thomas Stewart does suffer from the worst of the camera work and the directing, which is why he may be considered wooden perhaps, but there is definitely a nobility and authority there in his Wotan. And he is on top form vocally as well, with gleaming top notes that soar over the orchestration, a rich bronzen tone and his superb musicality, never once did I find him too aggressive. Brigitte Fassbaender sings beguilingly and her Fricka is stylish, witty and elegant. Jeanine Altmeyer's Freia is radiant and affecting, qualities she'd bring to her superlative(on DVD) Sieglinde. Fasolt and Fafner are on booming form, the Rheinmaidens have great voices that don't completely blend well and Erda vocally is appropriately knowing(deserving more than what was done with her on film).
In conclusion, interesting if not spectacular. 7/10 Bethany Cox
