Die Walküre - review

 

In the second opera of Wagner's Der Ring Des Nibelungen, many years have passed since the discovery of the ring and a new hero Siegmund (Seattle Opera debutant Stuart Skelton, pictured below), son of the god Wotan, staggers toward Hunding's (Andrea Silvestrelli) house in the woods. Wounded and tired from battle, he seeks shelter by the fire and meets Siegelinde (Margaret Jane Wray), Hunding's wife. The two are immediately drawn to each other. However when Hunding comes home and begins speaking with Siegmund, he soon realizes that this stranger is his enemy. Hunding grants his foe shelter and rest for the night, but vows to fight him the next day. But  Siegelinde prepares Siegmund for the fight to come by showing him the sword that was destined for him. Realizing that they are brother and sister, they nevertheless fall in love and run away together.

 

Now this would not be an opera without dramatic twists and turns and Die Walküre does not disappoint. Wherein the first opera of The Ring, Das Rheingold, exudes almost absolute male dominance, the women take center stage here. As the goddess of marriage Fricka, Wotan's wife, is displeased at the potential union of Siegmund and Siegelinde and their incestuous relationship. She is also angered that Wotan would allow the sanctity of marriage to be broken so easily. She demands that Siegmund fall in the fight with Hunding as punishment. Wotan reluctantly agrees and revokes his promise to protect Siegmund. Stephanie Blythe's performance as Fricka is marvelous and she sings with just the right mixture of defiance, scorn and pity which one could say is to be expected given the multiple infidelities she has endured from her husband.

 

In this story the audience is introduced to Brünnhilde (Janice Baird), Wotan's favorite Valkyrie daughter amongst the eight he has fathered with a mortal woman. Janice Baird, the current "It Girl" of the opera world, plays the famous role. There has been much anticipation about her performance and she steps into her role with ease and precision, projecting a range of emotions which can easily be seen from the back row of the hall. As Brünnhilde no one else shares the confidence of Wotan as she does, but upon hearing that Siegmund is to fall in battle, stands up to her father for the first time. Wotan warns Brünnhilde not to go against his will again, or face the full measure of his anger. 

 

As the story unfolds, Siegmund meets Brünnhilde, who tells him that he will die and return with her to Valhalla. Upon hearing this Siegmund vows to kill Siegelinde and himself so they can remain together in death rather than endure separation from his beloved. Brünnhilde is moved by this decides to aid Siegmund in battle going against her father orders. However, during the battle Wotan intervenes and shatters Siegmund's sword allowing Hunding to vanquish his foe. Yet in his fury over Brünnhilde's betrayal, who flees with Siegelinde rather than face her father's wrath, Wotan also kills Hunding with a wave of his hand.

 

At this point the combination of the dramatic and well-known music score "Ride of the Valkyries" and the highly charged emotions from the cast of characters to follow has the audience on the edge of their seat. The show continues on and Wotan and Brünnhilde come to a heart-wrenching conclusion. In the end was Fricka's actions based on envy and jealousy rather than simply a plea for justice? Was Wotan's disappointment and despair at his own indiscretions, all too painfully pointed out by Fricka, gathered up and packaged as overly harsh punishment toward his daughter Brünnhilde who takes the full brunt of his fury? Whatever the motivations, it was clear by the enthusiastic cheers from the audience that the delivery and performance of this cast and the orchestra can more than meet the challenge of unresolved love, sorrow and revenge in timeless fashion.