Colin’s Cultural Corner
Das Rheingold
Royal Opera House 20/9/23
This is the first instalment of a new production of the complete Ring Cycle being staged at Covent Garden.
Directed by Barry Kosky and with Pappano conducting I had high hopes for this. Even though they were tempered somewhat by my experience of Rheingold at the ENO earlier this year which was disjointed, clumsy and really rather disappointing.
The weather tonight was atrocious. Biblical levels of rain pouring down outside so I was impressed that the cloakroom queue was non-existent.
House opens and I take my seat. Tonight’s being live streamed to cinemas apparently and there are two whacking great cameras next to me. Not that they interfere with my view at all but I did get the opportunity to ask one of the two camera men both how he managed to smuggle that in and whether he knew filming was prohibited.
Next to arrive in the row was another ROH lanyard wearing chap who was talking with both camera operators whilst remaining steadfastly standing in the vicinity of his seat. House lights dim....
We’re greeted with a huge stage, no backcloth so it’s open all the way to the rear wall. There’s a shroud covered sculpture front and centre which I’m guessing is a tree.
The coverings are lifted off as the music starts and in walks a naked 80-something woman: on to the stage not into the audience I hasten to add.
She doesn’t really leave the stage at all but instead circles the whole set slowly, observing. She’s basically Mother Nature looking back at times of old and it’s her eyes we’re seeing things through.
Plot.
We start with the creation of Earth/the Rhine. There are water sprites living in the Rhine. They’re there to guard the Rheingold which is the gold in the Rhine. I don’t know if there’s actually ever been gold in the Rhine or if it’s something legendary like fog on the Tyne.
The gold is incredible valuable (not just because it’s gold) because it can be created into a ring. That piece of jewellery can command others to obey and is basically the ring that Tolkien built a career on. It’s different in some ways but it’s pretty much the same all powerful thing so think of it that way.
Staying with the naturalistic realism that Wagner roots this opera in moves us to the gnome. He’s a repulsive creature who lusts after the Rheinmaidens and is rejected by every single one of them in turn after cruel turn.
He steals the gold and crafts a ring and a Tarnhelm, a magic helmet that gives the wearer the power to change shape.
Meanwhile there is a domestic dispute going on in the house of a local family of Gods and immortals. The mum wanted a bigger house. Dad got a firm of builders in to build a new and much bigger house for them to live in. He said he’d pay them with the hand of his sister-in-law in marriage.
Builders build the house. Dad says he’s not paying. Builders kidnap the sis-in-law. Dad’s a bit miffed and comes up with a cunning plan that can’t possibly go wrong. Needless to say it’s not as easy as he first thought but it does succeed. Everyone gets their comeuppance and God family get to live in their new house.
I have to say that this isn’t one of my favourite operas. I struggle with it a bit in the middle as it lacks action or tension and I’m not overly keen on the music either. Also Das Rheingold isn’t a grand opera with a mammoth chorus so it lacks that aural wallop that some Wagner works deliver. So why see it here if I’ve seen it elsewhere and am not that fond of it? Because it’s the ROH and it’s a new production and I intend to see them all because it’s a legendary opera and deserves to be seen I think.
This production somehow managed to make it into a very accessible story that made sense regardless of the fact that it’s one which features precisely zero human beings at all.
Clearly there’s an allegorical narrative being pushed here that the Rheingold is natural resources and the desire everyone has to seize and control the it is humankind’s desire to plunder the Earth of all kinds of natural resources. This production makes that point elegantly and effectively whilst managing never to stray into a lecturing mode.
Cast are all superb singers and their acting skills match their vocal abilities perfectly.
The production works. It is a little lacking pace around the hour and a half mark but that’s the only niggle. We overran about 10 minutes or so and there’s no interval I did get a little fidgety in my very comfortable seat at times.
No gossip. No overheard convos. No idea why that’s the case but I suspect it’s because it was 2:35 straight through so there wasn’t much chance for it to happen. I hope there’s intervals in things I’m seeing the rest of the year!