Die Walküre

The cultural importance of Wagner’s Ring Cycle cannot be underestimated, and staging this work is always an admirable exercise. Melbourne Opera has approached this production with grandeur and on most accounts succeeds in conveying the magnificence of this work. The stage combines a modernist brutalist set design which also houses a naturalistic looking Ash tree. This seems at odds with the scenery and is an example of some of the less cohesive aspects of the directorial vision. The rock, which acts as Brünnhilde (Zara Barrett) prison or bridal bed, has a less naturalistic design and blends into the set in a more seamless manner. The emphasis on the symbolism of the ring is particularly well exploited in the stage design and there are extremely inventive set changes which produce highly dramatic imagery. The intensity of mood is clearly a priority in the overall set and lighting design, and this echoes the beautifully executed and powerful performance of the music by the orchestra.

The approach to the costuming is also somewhat uneven. Fricka (Sarah Sweeting) wears a solid and impressive gown with fabric and tones that match the set while standing out in its movement and sway, almost amplifying the performer's gestures and actions. Brünnhilde’s costume is more modest and seems to undermine her position as the protagonist. It is not until she gathers with her goddess sisters that it is clear her outfit is almost a uniform where, collectively, it makes an impression. However, the fabric does play with light exceptionally well as she lies on the rock surrounded by flames in the closing moments of the final act.  

Wotan (Warwick Fyfe) is undoubtedly the star of the show. His majestic presence is asserted from the moment he enters the stage. This is also conveyed through the power of his voice which infiltrates the entire auditorium and sometimes overshadows other performers. The love or lust felt between Siegmund (Bradley Daly) and Sieglinde (Lee Abrahmsen) has a great beginning with well measured tension in their forbidden attraction. Although, this soon gives way to a more tactile connection which results in a tendency to diffuse this attraction. Hundung (Steven Gallop) has a wonderfully menacing presence which he deploys with the force of his voice and gestures. His threatening demeanour is aptly depicted as a natural response to the questionable bond that develops between his wife and her brother. 

In the final act Barrett and Fyfe really own the stage together and they bring the performance to an electrifying conclusion, with the support of some astonishing visual effects. The subtlety in their battle for reciprocal respect and authority is displayed with candour and the depth of their emotion is visibly moving. This is a captivating production which provides many exceptional elements which effectively portray the characteristic glory intrinsic to this legendary story. 

Patricia Di Risio 

Photographer: Roboin Halls