Stephanie Blythe a Fricka for our times to Greer Grimsley's Wotan?
Does Stephanie Blythe outshine Greer Grimsley in Seattle’s Ring Cycle?
My guess is that the chemistry developed between Greer Grimsley and Stephanie Blythe brings out the best in each Wagnerian at Seattle’s Ring Cycle, a phenomenon in it’s own right. Yet the reviewers this week seem to uphold Stephanie as not only the quintessential Wagnerian but also performing Fricka as proud as she is loving and as determined as her mate, a Fricka for our times. Seattle loves things big, bold and sexy.
The reviews have been universal with highest praise of Stephanie Blythe as Fricka, wife of the god of Valhalla, Wotan, peformed by bass baritone Greer Grimsley. It’s not just the Seattle critic or even those from San Francisco but even the Financial Times.
Cassidy's confessions of a first time opera goer
However young Cassidy Quinn, a twenty year old phenomenon herself, reported from Seattle Opera. Creating a new video and blog series for the Ring called Confessions of a First Time Opera Goer.
Cassidy energetically dives into the fantasy world of the Ring at the American Bayreuth with, among other things, a wonderful interview of Blythe, which I liberated, here:
Blythe interview about Fricka.
Generally Blythe has been praised by reviewers this week as an empathetic Fricka. However young Cassidy’s interview gives insight into Blythe’s spirit. Blythe tells Cassidy you must first understand love to understand the loss that comes later. Consequently Stephanie and Greer developed a warm and physical relationship as Fricka and Wotan, where the audience sees the husband and wife touching often, being demonstrative.
Cassidy will be posting a video of her backstage interview of Greer’s real life wife mezzo Luretta Bybee. Luretta is also a vocal instructor and she plays a Norn in this production. Cassidy’s mother/daughter interview includes 17 year old alto Emma Grimsley, who performs in the Ring as a Woman in Black.
View from a Pacific Aisle
Joshua Kosman in his blog, rather than his SF Chronicle review page, went so far as to note the erotically charged nature of the relationship. It leaves no doubt that if Wotan strayed it was not due to any lack of love in his marriage to Fricka.
Kosman noted how Greer has risen to the occasion of performing Wotan this year. However in 2004, the last time the Olympian cycle occurred in Seattle, Greer received Artist of the Year. So going above and beyond, Greer this cycle performs as Kosman says, with imaginative touches that shed new light on what's happening — particularly the lively erotic charge between Fricka and Wotan, which makes clear that his philandering has nothing to do with any caricatured notion of her as nag or shrew. Wadsworth also makes Fricka a force of conscience by having her linger behind, contemplating Fasolt's corpse in silent horror, while the other gods process over the Rainbow Bridge to Valhalla.
However Kosman gives the credit for this to Wadsworth and his staging. He does say Greer grew into the role from being underpowered to being vocally resplendant. Greer has always looked magnificent as Wotan though and you have to love his Sampsonian long locks with braids, to match Fricka's.
Like the other critics, Kosman notes Stephanie Blythe’s performance as stellar, saying she
outshone everyone else for vocal heft, tonal elegance and interpretive clarity.
Financial Times says Ring Cycle worth it's weight in gold
Moreover Martin Bernheimer of the FT.com, the Financial Times, even calls Greer’s performance athletic, capitalizing on power and stamina. The man in his early fifties it seems has never been better and he’s in top form for the world to see. Bernheimer calls Stephanie’s singing lush-toned and exceptionally passionate. So, I’m just saying even though I haven’t seen this yet as I’m still in California, somebody is bringing out the best in Stephanie and maybe it's not just Stephanie.
Classical voices unite
San Francisco Classical Voice was represented by its founder and former SF Chronicle critic, UC Berkeley conductor Robert Commanday who raves about Stephanie and how her performance shows times have changed. He calls her a Fricka for our time.
Stephanie Blythe establishes herself with this production as the Fricka for our time: as proud as she is loving, and as determined as her mate — not, for once, a nagging shrew. Times have changed! Her voice, full, unstrained, and possessing, dominates the house.
What I believe was also new was Wadsworth’s presentation of Wotan and Fricka as an affectionate, loving couple from the outset of Das Rheingold. Even their quarrels and recriminations are softened by Greer Grimsley’s bestowing a kiss or other affectionate gesture on Stephanie Blythe, as she looks into his eyes.
So I am counting down the days until my date and I attend the Ring Cycle. I had urged him to wait to purchase the entire thousand dollar series until he knew he liked The Ring. Could he with his short attention span even sit through the seventeen hour epic. Even with a normal attention span? Whew!
Here are some of my own fond memories of Seattle Opera meanwhile, from my first time on an opera stage. I supered (non singing background actor) in Rigoletto as a Carnival party guest, set in 1920s America with an art deco set. Seattle loves a man in an eye patch or perhaps this was a sign four years ago that I would return when the patch did . . . here's the writer with Barry, a principal.
Martinis are swerved . . .
Dan the turbo-chorister . . .
Seattle's locks in Ballard, the Scandinavian city . . . more boats per capita than any other American city.
Salmon fly up the fish ladder at the locks, coming home to spawn before they die in their own Ring Cycle . . . some salmon come home battered with sea lion bites . . . but as if immortalized in salmon Valhalla, the flying fish also swirl over dinner tables as a chandelier. Seattle has a nice glass factory among it's art forms.
Photos of Rigoletto and Seattle: Cindy Warner
Photo of Wotan and Fricka: Chris Bennion
For more info: www.SeattleOpera.org
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