 |
Photo by Sara Krulwich/The New York Times |
Anthony Tommasini writes
“Götterdämmerung,” the final installment in the Metropolitan Opera’s new production of Wagner’s “Ring” cycle, which opened on Friday, is the most theatrically effective staging of the four works in this epic series, and the clearest representation of the director Robert Lepage’s vision. That’s because with each installment Mr. Lepage has simplified the staging and used fewer of the capacities of Carl Fillion’s 45-ton set: the machine, as it has been called, a huge gizmo of 24 planks that rotate on an axle in combination with video projections to evoke rivers, cliffs, mountain passes, forest dwellings and more."
Here is the URL for the whole New York Times review of Gottrdammerung
For a synopsis of the plot, go to Wikipedia.
I hope you join me with comments after the six hour stint.
Steve says he wouldn't even go to a sports event that lasted that long.
Arta
I am in Helsinki with Marie-Claire (getting ready for a talk at the university on Monday). We had a moments discussion considering it. 6 hours and 24 minutes (with two intermissions) is a very serious commitment. At the same time, it is ROBERT LEPAGE!!! How cool would THAT be to watch!? I felt secretly relieved when I went to the website, and found that the tickets for the helsinki showing were already sold out. :-)
ReplyDeleteFifteen hours for the whole ring cycle. The Phoenix was also sold out. No children, or even teen-agers were there. People as old as, if not older than I. I thought some would leave after the first act or the second act. No. All stayed. Perhaps some had died in their seats. I don't know if this is true or not because I was among those who could find their way out of the theatre without having the lights turned up. "Lights, lights," the old began to yell. "Please, please," others corrected them. Still, no lights, so those of us who know how to leave a theatre doing braille got out. The show started at 5:05 pm here and I was on the bus at 11, on my way back to Derwent Corner. Wouldn't have missed it for the world. I did have a heart-attack when I heard Siegfried's American accent, since I was used to him singing in German. Not just an American accent, but thick southern U.S. Maybe Tennessee. I thought, "Is he putting this on?" But no! He would also be good in A Cat on a Hot Tin Roof, if it required singing. All in all, you missed a night to remember. Too bad about the sell out in Helsinki.
ReplyDeleteAessage to her in Helsinkirta:
ReplyDeleteKelvin here again with a second try at posting a comment.... about Reb's response to your mhttp://larchhaven.blogspot.com/2012/02/gotterdammerung.html I thought Reb had been to Moscow and Helsinki already!