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Siegfried 2004
Description: Part of Stuttgart Ring Cycle 2002/2003 - Second day.
Released: N/A Director: Hans Hulscher Writers: Richard Wagner (text by) Actors: Jon Frederic West, Heinz Göhrig, Wolfgang Schöne, Björn Waag Genres: Music, Drama
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Siegfried Reviews:

Just for the record, I love opera, I love Wagner, and Siegfried is my private favorite of the Ring Cycle(just edging out Die Walkure). So it's not as if I have some negative bias towards the opera. But I really disliked this production, it's almost as terrible as Katharina Wagner's Die Meistersinger Von Nurnberg when it comes to productions of any of Wagner's operas.It isn't all terrible though. The melody is superb helped by the mostly clear sound quality, and there are two performances that are cute good, Heinz Gohrig as a nasty and somewhat sympathetic Mime(though the masturbating, I blame the scene director rather than Gohrig) was too much) and Bjorn Waag's creepy(if perhaps too attractive) Alberich.Wolfgang Schone vocally is the greatest of the three Stuttgart Wotans(in Siegfried in the guise of Wanderer, Wolfgang Probst was strong but uncontrolled and Jan Hendrik Rootering was too weak-pushed-up-bass in quality. Schone here does have a powerful voice, even with some strain and he struggles in his stage with Erda in Act 3, with the most authoritative diction of the three Wotans. Unfortunately I would rate him higher, if he didn't look so embarrassed. Lisa Gasteen as Brunnhilde is also the greatest of the three Brunnhildes, Behle was shrill and DeVol would have been better if she had done the role 10 yeas earlier, as she is quite perfect vocally. Sadly her costume is unflattering and the production in her large stage between her and Siegfried create her too promiscuous.The Woodbird has vocal clarity but looks like a blind man with spiked-up hair. This is an approach that may work well in an Eminem melody video but not in a Wagner production, it's just too bizarre. Attila Jun projects his voice much more than he did as Hunding in Die Walkure. The trouble of his Fafner was not his singing, but the fact that visually and dramatically he is nowhere near sinister enough, the stage between him and Siegfried doesn't have the impact the melody here promises.Jon Frederic West's Siegfried is a vast improvement over his Tristan under Mehta. The sound is strong, and far less strained and blustery than before. Dramatically he is not as promising, very stolid and unheroic most of the time and he is not helped by his costuming which now create him larger than he now is or the inept staging. Erda is not warning enough, looking and sounding old instead.Musically it is decent enough, but is never outstanding. The orchestra do enjoy with a lush sound, but are underpowered and not alert enough. The conducting is also not bad, more involved than the previous two instalments but still has a tendency to be too bombastic in the climaxes.Visually, this Siegfried is absolutely awful. I have seen some bad-looking productions, but this one tops it. The costumes either unflatter the singers(especially West) or undermine the tension that the scenes could do(Jun's Fafner). The sets are gaudy in colour and even look filthy, Brunnhilde's boudoir is terrible enough but the worst offender was the the Act 3 stage between Wotan/Wanderer and Erda.The staging is inept, often irritating and comes across as more overly-silly approach than wacky and witty, the latter two I imagine was the objective. Those looking for anvil strokes will see Mime hitting a bowl with a potato peeler instead, the Woodbird acting like the Ghost of Christmas Future and the entire stage between Siegfried and Brunnhilde is an embarrassment, operatic soap-opera at its worst.All in all, has one or two nice performances and the melody is wonderful, but visually, staging-wise and mostly characterisation-wise, it is disgusting. 3/10 Bethany Cox


Before I tell anything rude about this ver of Siegfried, I could just tell that it really is very well sung. It is probably the greatest individual production in the cut-price Ring Cycle from Stuttgart. Perhaps it lends itself to being done on the cheap because there are just eight soloists, no Rheinmaidens, no Valkyries, no Norns and no chorus. The satellite Performance Channel is rather cheekily broadcasting this Ring in tournament with the multi-million pounds of wasted taxpayers' cash ver from Covent Garden that currently being broadcast by the BBC.This Stuttgart Ring does have its embarrassments, notably in its soap opera ver of Die Walküre but Siegfreid works rather well given a related soap opera treatment. Mime's cave is a dilapidated council flat that just happens to have a furnace in the corner for forging broken swords back together. Mime, engagingly sung by Heinz Göhrig, is a seedy bachelor who we first see peeling potatoes for Siegfried's dinner. Siegfried is sung by Jon Frederic West who has a pleasing heldentenor voice but whom I would back any day vs Luciano Pavarotti in a pie eating contest. West seems to be a Tristan specialist and I imagine he should be quite successful in that role, wearing a long, loose robe. However Siegfried's jeans and tee shirt are not the most becoming apparel for a boy his size. It is probably a mistake to have Sieg printed on one man-breast and Fried on the another so that he looks like an advert for Colonel Wagner's Sieg Fried Chicken.Wolfgang Shöne has a sonorous voice and sinister presence as Wotan in a leather jacket and baseball cap. He just strolls into Mime's flat but Mime, on seeing him sings: "Who has found me here in the wild wood?" I enjoyed the three riddles stage between Mime and Wotan. This is really just back storyline for anyone who has not seen the first two instalments of the Ring but I liked the method they chalk their scores up on the wall as they respond every others' riddles correctly, as if they are having a minigame of darts.There are effective cameos from Björn Waag as Alberich and Attila Jun as the dragon, Fafner. Fafner's cave is conjured up effectively with just a bit of wire fencing. Of course this production does not run to the expense of a dragon costume. Fafner just wears a tee shirt and jeans like Siegfried's except that his reads dierF gieS across the chest. Maybe this suggests that he is a mirror photo of Siegfried, his own mental demon. Also in this stage we see the Woodbird, everytime my favorite hero even though she only has one tune. Gabriela Herrera sings her one tune very prettily and, for some reason I cannot explain, is a blind woodbird.The stage between Wotan and Erda seems to take zone in a maternity ward, maybe suggesting Erda's function of producing daughters for Wotan to serve as Valkyries. Helene Ranada is alternately moving and bloodcurdling in this role.Finally Siegfried bursts into Brünnhilde's bedroom, no nonsense about magic fire here. He finds none another than Lisa Gasteen who was also Brünnhilde in Covent Garden's disastrous production. Gasteen is more successful here, the smaller venue and Lothar Zagrosek's quieter orchestral accompaniment are better suited to her voice. She wears a silk negligée, slit to the waist and displays ample décolletage. Despite this, the sexually naïve Siegfried first mistakes her for a man. His: "this is no man", exclamation finally comes when he slides his hand between her thighs. The opera ends with 40 mins of the most sensuous melody ever written and in this production the sensuality gets totally emphasised. Brünnhilde gets an additional silk pillow from the wardrobe and puts it beside hers before patting the bed to indicate that Siegfried could join her. They sing their extended lovemaking duet on the bed together. How various it is from the Covent Garden production where Brünnhilde and Siegfried stand at either side of the scene as though Brünnhilde has a terrible situation of halitosis after her twenty year sleep. Here, Brünnhilde thoughtfully brushes her teeth before climbing into bed.Lothar Zagrosek conducts what, to me, sounds like an underpowered orchestra. This is something I noticed in the another parts of this Ring. When the orchestra is accompanying the singers the balance is fine but when the sound could well up during the orchestral interludes it just fails to well. This one quibble aside, congratulations could go to the scene directors Sergio Morabito and Jossi Wieler for this witty, Wagner production that is a nice treat, both musically and visually. Witty and Wagner, actually there are two words that you do not often hear in the same sentence.



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