Reviews of Melbourne Opera’s SiegfrIEd
Prior to Melbourne Opera’s September 2022 performance of Wagner’s Siegfried, Robert Gay penned a short letter anticipating the full Ring cycle to be staged in Bendigo in 2023. It is the first time such an ambitious undertaking has been attempted outside of an Australian capital city, and we’re delighted that Robert will lead our tour to the cycle in Bendigo next April.
Since Robert wrote his letter, Siegfried has been performed in concert by Melbourne Opera. Reviews have been excellent, and Robert has selected passages from them that epitomise different aspects of the performance. Below you’ll find his original letter on the undertaking of a regional Ring, and following that we’ve published his selection from the reviews. There are links to some of these in full - but for Melbourne Opera’s full production of Siegfried, you’ll have to wait until 2023 in Bendigo.
Worth a Journey
By Robert Gay
Excitement is mounting for the realisation of Melbourne Opera’s ambitious undertaking to stage Wagner’s complete Ring cycle in regional Bendigo early next year. At the end of September, visiting Wagner-maestro Anthony Negus conducts a concert performance of Siegfried, the third music drama of Wagner’s tetralogy, in preparation for the complete cycle being staged three times in March and April in Bendigo’s impressive Ulumbarra Theatre.
Attempting to stage Der Ring des Nibelungen (best translated as Alberich’s Ring) presents huge challenges for any opera company. To see that challenge realised, especially in a regional centre in Australia, will be a first, and Melbourne Opera’s daring has galvanised Wagnerians across the nation in support of this remarkable enterprise.
Limelight Arts Travel has selected excellent accommodation in the beautiful Mt Macedon region which will involve a coach trip to and from each of our four performances. This will facilitate time for discussion in addition to the set talks. The arrangement is particularly welcome, as the Ring is a topic of seemingly endless complexity and fascination.
Parts 1 and 2 of the cycle – Das Rheingold and Die Walküre – have already been unveiled, and have been almost universally welcomed by glowing reviews. The superb musical preparation by Anthony Negus, and the clear story-telling (with surtitles) evident in Suzanne Chaundy’s production have been singled out for high praise. Now, Part 3 of the cycle – Siegfried – is in the final stages of its musical preparation, prior to being given ‘in concert’ in the Melbourne Recital Centre at the end of September.
Admirably living up to their description, Wagner’s ‘music dramas’ present us with an almost perfect conjunction of action and sound, both vocal and orchestral. When all the planets are in alignment – and they seem to be for this production – the results can be thrilling, and in places almost overwhelming.
For many years, travel books have listed destinations as either ‘worth a detour’ (moderately interesting) or ‘worth a journey’ (highly interesting and well worth the effort). My prediction is that Melbourne Opera’s ambitious Ring cycle in Bendigo will be well worth the journey!
Excerpts from reviews of Melbourne Opera’s concert performance of Siegfried
WHAT WAS IT LIKE?
‘Much has been made of this cash-strapped company’s remarkably grand productions of Das Rheingold and Die Walküre, but this Siegfried concert focused attention on the high quality of their music making. It bodes well for the complete Ring Cycle in Bendigo next year, for which most if not all of this concert’s artists will return.’ [Limelight]
‘With the musical and dramatic landscape looking splendidly polished and Suzanne Chaundy’s concept doing great honour to Wagner’s text, everything bodes well for next March and April. Does the small regional city of Bendigo realise what epic scale and breathtaking magnificence they are in for?’ [Australian Arts Review]
‘As the final exultant notes of the love duet resounded, the audience was on its feet in a proper, instantaneous standing ovation.’ [ABR]
THE ALL-AUSTRALIAN CAST
‘On stage for much of Siegfried’s four hours and 15 minutes (excluding intervals), Bradley Daley displayed extraordinary stamina in the title role. His warm, supple tenor never wavered, nor did his enthusiasm for showing what a brash, naïve young man Siegfried is, even within the limitations of a concert.’ [Limelight]
‘Already having the role of Siegfried’s father Siegmund firmly under his belt, and fresh from singing the titular Siegfried in Longborough Festival Opera’s fully-staged production in June – likewise conducted by Anthony Negus – Daley planted himself confidently and at ease without the score’. [Australian Arts Review]
‘His Brünnhilde, Lee Abrahmsen, was, in appearance and voice, a Valkyrie to the hilt, projecting her rich and gleaming voice like a silver spear right to the back of the hall.’ [Australian Book Review]
‘Always notable for the beautiful delicacy of her voice, Abrahmsen dug deep to reveal the powerful, steely potential of her soprano, especially as the Act III duet with Daley reached its ecstatic climax.’ [Limelight]
‘Deborah Humble’s beautifully sung Erda was majestic, wise, and utterly convincing.’ [Australian Book Review]
WAGNER-MAESTRO NEGUS INSPIRES
‘The orchestra was mostly very young, but veteran Wagner expert Anthony Negus marshalled them into a mighty, cohesive force highly sensitive to the varied drama of Wagner’s score. From brooding to bright and shimmering, the massed strings and brass (including Act II’s lovely horn solo) were particularly impressive.’ [Limelight]
‘Coalescing marvellously under the learned command of English conductor and Wagner specialist Anthony Negus – having now become a much-loved fixture at Melbourne Opera – the transcendent beauty, dramatic colours and heaving intensity of Wagner’s music resonated superbly.’ [Australian Arts Review]
‘More telling was how Negus took the pace and balance of each act almost as a single paragraph.’ [Australian Book Review]
READ THE FULL REVIEWS
Patricia Maunder for Limelight 26/9/22
Michael Shmith for Australian Book Review 26/9/22
Paul Selar for Australian Arts Review 26/9/22
Robert GAY
Robert Gay is one of Australia’s most highly-regarded music tour leaders and educators. He has given popular courses in music history at the Centre for Continuing Education, University of Sydney, for more than thirty years and has designed and led over 100 cultural tours.
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