At the Met: 'Rigoletto' and 'Die Walkure'

By Robert Croan

Post-Gazette Senior Editor

NEW YORK – The Metropolitan Opera has taken a lot of heat for Mary Zimmerman’s updated “concept” production of Bellini’s “La Sonnambula.” That kind of staging, known as “Regieoper” (director’s opera), is common  in Europe, but American audiences are less accepting.

The first week in April brought the final performance of “La Sonnambula,” along with long-standing traditional productions of Verdi’s “Rigoletto” and Wagner’s “Die Walkure” staged by the venerable Otto Schenk. The unremarkable scenery and staging brought musical elements to the forefront, and they were so good as to overshadow the drab visual surroundings.

The “Rigoletto” cast was as good a lineup as might be found in today’s market: Roberto Frontali vocally resonant and emotionally compelling in the title role, Diana Damrau one of our most accomplished and expressive lyric-coloraturas. Maltese tenor  Joseph Callejo matched her virtuosity and vibrant high notes with free, ringing delivery of the Duke’s arias and duets. His “La donna e mobile” was no worn-out chestnut, but a glorious outpouring of what Italian opera is all about. Even the supporting roles were brilliantly taken: Raymond Aceto’s booming bass tones bringing the assassin Sparafucile to life, former Pittsburgher Sebastian Catana coming through strong as the courtier Marullo, while Riccardo Frizza conducted with confidence and vigor.

“Die Walkure” was part of an event of greater significance: the final revival of the Met’s “Ring”  cycle that dates from 1986. (A more contemporary “Ring” production is scheduled for upcoming seasons.) Schenk’s production has seen numerous protagonists in every role, but its great virtue remains the incomparable Met Orchestra under James Levine. The “Magic Fire” glowed even more brightly in the pit than on the stage.

Wagnerian voices being rare, there were problems. The longest roles in the four operas that comprise “The Ring” are Wotan, king of the gods, and Brunnhilde, the eponymous Valkyrie. Bass-baritones Rene Pape and Bryn Terfel, A-list candidates for Wotan, postponed their role debuts. Highly-touted American soprano Christine Brewer who was to have sung her first Brunnhildes here, withdrew, the stated reason a knee injury.

In the event, Wotan went to James Morris, the world’s Wotan of choice for more than two decades. At 62, Morris’ sound may not retain all the power and luster it once had, but he knows the role down to the last eighth-note and inflection of the German text. His delivery defines the character. If his rendition of Wotan’s Farewell signifies his own farewell to the part, it’s a great valedictory.

The replacement Brunnhilde for the first series is Swedish soprano Irene Theorin, whose credits include the “Ring” cycle in Copenhagen’s magnificent new opera house. That’s a smaller theater, however, and hers is not the very largest sound. She seemed uncertain in her entrance, but settled in and gave a moving rendition of Brunnhilde’s pronouncement of death to Siegmund. In the final act, her supplication to Wotan was eloquent and endearing.

Waltraud Meier, another veteran Wagnerian, looked lovely as Sieglinde, but sounded worn, while Johann Botha – a burly Siegmund – sang with the fresh-voiced ardor of a genuine Heldentenor. Filling out the cast was John Tomlinson’s deep-voiced Hunding, Yvonne Naef’s commanding Fricka, and an octet of Valkyries that did the Met’s supporting-role roster proud.