Das Rheingold Programme - Fulham Opera

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RICHARD WAGNER (1813-1883) – Das Rheingold, the inexhaustible myth. Richard Wagner’s epic cycle Der Ring des Nibelungen (The Ring of the Nibelung) comprises four operas: Die Walküre (The Valkyrie); Siegfried and Götterdämmerung (Twilight of the Gods), and a preliminary evening Das Rheingold (The Rhinegold). It is unlike any other operatic work seen before or since. It stands as a testament to the genius of a man who is probably the most talked and written about composer in the world. George Bernard Shaw once said of him: ‘If Wagner had not existed, it would have been necessary to have invented him!’ The Ring marked a change in Wagner’s own compositional styles and to drama and music throughout the West in general. When in 1848, having completed Lohengrin, Wagner began working on the text of Siegfrieds Tod, (Siegfried’s Death, which eventually became Götterdämmerung), he realised that he would need to explain many of the earlier events that lead to the destruction of the Ring and the Gods of Valhalla than could feasibly be performed in one opera. In 1851 he started writing Der Junge Siegfried (The Young Siegfried), which we now know simply as Siegfried, but at the end of this he still felt more explanation was needed. This led to the text of Die Walküre, also in 1851, and finally of Das Rheingold which he completed in 1852. At the same time as writing the libretti for The Ring, Wagner also wrote numerous essays and books, the most important to the composition of The Ring, and in particular to Das Rheingold, were The Work of Art of the Future (1849), Opera and Drama (1850-1) and A Message to my Friends (1851). Inspired by Greek tragedy, Wagner realised that opera had the potential to combine several art forms, (he used the term Gesamptkunstwerk or “total art work” to describe this combination), from poetry, drama, costume, mime, dance, song and instrumental music in the presentation of myth as subject matter. As Wagner said ‘The unique thing about myth is that it is true for all time; and its content, no matter how terse and compact, is inexhaustible for every age.’ (It is interesting to note that this was exactly what the pioneers of opera in 16 th and 17 th Century Italy had been trying to achieve.) He applied these theories in the composition of The Ring, Tristan and Isolde, Die Meistersinger von Nürnberg and Parsifal. However, only in Das Rheingold does he so clearly follow his own theories. He himself termed it music drama, (a forerunner, it could be said, of the cinematic experience), where the orchestra gives the audience the emotional context of the drama unfolding on-stage – what goes on inside rather than outside people – the ‘emotionalizing of the intellect’. He drew his inspirations for The Ring from Germanic and Scandinavian myths and legends, particularly the 13 th Century German Nibelungenlied (Song of the Nibelungs) and the Icelandic poet Snorre Sturluson’s Edda and Saga of the Volsungs, and adapted the stories to suit his own needs. The Volsungs in the Edda and the Saga of the Volsungs in the Scandinavian tradition point to generations of Volsungs before we reach the twins Siegmund and Sieglinde, let alone Siegfried, but by careful analysis, Wagner freely adapted, compressed and moulded the stories to meet his requirements. Many characters become amalgamated into one, others are simply not important enough to warrant an appearance. Musical composition on Das Rheingold began in 1853 and finished in 1854, but the whole cycle was not completed until 1874, as between 1857-69, having composed, but not scored the first two acts of Siegfried, Wagner concentrated on other projects, mainly Tristan und Isolde and Die Meistersinger von Nürnberg. Although Das Rheingold and Die Walküre were performed separately in 1869 and 1870 respectively, the first complete performance of the whole cycle had to wait until 1876, once Wagner had completed the building of his own theatre at Bayreuth, and these performances were conducted by Hans Richter. Specifically designed to maximise the performance of his music, the Bayreuth theatre design hid the orchestra completely from view of the audience, allowing them to concentrate on the action of the opera instead. The London premiere of The Ring was given at Her Majesty’s Theatre in May 1882 under the baton of Anton Seidl, and the first performance in English was in 1908 at Covent Garden, again conducted by Hans Richter. As the critic Eduard Hanslick wrote after watching the first complete performances of the whole cycle in 1876, The Ring is ‘something essentially different from all that has gone before, a thing alone and apart. […] Three main considerations distinguish this music in principle from all previous operas, including Wagner’s: first, the absence of independent, separate vocal melodies, replaced here by a kind of exalted recitative with the “endless melody” in the orchestra as the basis; second, the dissolution of all form, not just the usual forms (arias, duets, etc.) but of symmetry, of musical logic developed in accordance with laws; third the exclusion of multiplevoiced pieces, of duets, trios, choruses and finales, not counting a few odd passing entrances. […] The 4 Stuart Laing – Froh: Stuart holds a Bachelor of Music, majoring in voice, from the Western Australian Academy of Performing Arts and is an honours graduate from the Australian Opera Studio. From May 2009 Stuart was a young artist with the West Australian Opera Company. Currently Stuart is studying for a Masters in Music at the Guildhall School of Music and Drama’s award winning opera school. Operatic roles include Almerik Iolanta GSMD, Normanno Lucia di Lammermoor Clonter Opera, Don Basilio and Don Curzio Le Nozze di Figaro, Nick La fanciulla del West, Horace Adams Peter Grimes and Remendado in Carmen WAO, the title roles in La Clemenza di Tito and Idomeneo, Don Anchise in La Finta Giardiniera, King Ouf in L’Etoile, The Gingerbread Witch in Hänsel und Gretel and Mozart in Mozart and Salieri (Rimsky-Korsakov) Australian Opera Studio. In concert Stuart has performed several recitals for ABC FM Australia and has been the tenor soloist in Handel’s Messiah and Mozart’s Requiem and Great Mass in C minor with the St. George’s Cathedral Choir, the tenor soloist in Richard Mill’s St Mark’s Passion with the West Australian Symphony Orchestra, the Narrator in Berlioz’s L’enfance du Christ with the University of Western Australia. Future engagements: Spärlich Die Lustigen Weber von Widsor and Lysander A Midsummer Night’s Dream with the GSMD. Stephen John Svanholm – Donner: Stephen John Svanholm studied music at The University of Surrey in Guildford, and as a postgraduate at The Royal Northern College of Music in Manchester. Prior to studying singing he was the lead guitar player with heavy rock band Ignorance, releasing two CDs worldwide and touring Europe and the USA. Stephen has been singing professionally now for more than ten years, mainly in Sweden and in London. However, he has also performed in Norway, France and Taiwan. He spent 18 months working with Regina Theatre in Stockholm (148 performances). In Sweden he appeared as Dancairo Carmen, Silvio I Pagliacci, Masetto Don Giovanni, Belcore L’elisir d’amor, Riff West Side Story and Brabant Noble in Wagner’s Lohengrin. Since returning to UK in 2008 he has sung the role of Falke Die Fledermaus with Opera Della Luna more than 90 times on three tours, Fiorello The Barber of Seville (Stanley Hall Opera), Germont La Traviata (New Cornwall Opera, New Devon Opera and Candlelight Opera), Silvio I Pagliacci (Chelmsford Opera), and Belcore L'Elisir d'Amor (Riverside Opera), Count Ceprano Rigoletto (Opera de Baugé in France), and Figaro The Barber of Seville for the King’s Head Theatre in Islington. In 2011 he appeared as The Bonze and Prince Yamadori in Madam Butterfly (OperaUpClose), has sung many more performances as Figaro, has toured as Belcore L’elisir d’amor for Pavilion Opera, and is singing Schaunard La Boheme for the first time this summer for Opera de Baugé. Stephen also records eclectic gothic opera crossover music with his project Sibelian, who have released one album, "The Soul Rush", and is presently working on his second album. Brian Smith-Walters – Loge: Described by Pierre Boulez as ‘un musicien formidable’ and ‘full-blooded’ by the Financial Times, Brian Smith Walters studied at the University of the Pacific and the Royal Northern College of Music. In recent years, Brian has performed worldwide in roles such as The Shepherd King Roger, Melot Tristan und Isolde, Bajazet Tamerlano, Tichon Katya Kabanova, and Male Chorus The Rape of Lucretia as well as the premiere of the title role of Jacko’s Hour. In contemporary music, he has premiered various works by Michael Torke, Domenic Muldowney, Ailis Ni Riain, and Elfyn Jones and has collaborated with Harrison Birtwistle, Oliver Knussen and Pierre Boulez on performances of their works. This season, Brian will create the role of Sampiero in Nicola LeFanu’s Dream Hunter. Brian’s concert experience has included recitals for the British Olympic Committee and Royal Ballet as well as an ‘Emerging Artists’ recital in San Francisco’s Schultz Cultural Arts Hall. He has also performed on BBC Radios 3 and 4; SWR Radio (Switzerland); NDR Radio and Television (Germany); and African Television. Brian has worked with such conductors as Valery Gergiev, Sir Mark Elder, and Christoph Eschenbach in various festivals around the world including the Lucerne Festival, Schleswig-Holstein Festival, Buxton Festival, Aldeburgh Festival and The Seychelles International Music Festival. 13
Psalms; Schubert’s Mass in G; Rossini’s Petite Messe Solenelle; Händel’s Messiah; Judas in Jonathan Harvey’s Passion and Resurrection; and 2nd bass soloist in Stravinsky’s Les Noces. Ian works regularly as an extra chorister at both Opera North and Welsh National Opera, appearing in Don Carlo and Janaček’s The Adventures of Mr. Brouček for ON, and Die Meistersinger von Nürnberg, Fidelio and Turandot for WNO. He returns to ON for Tchaikovsky’s The Queen of Spades this autumn. Other future engagements include bass solo in Mozart’s Requiem and Dixit et Magnificat (Dec 11), Puccini’s Messe di Gloria (Mar 12), Cox in Cox and Box (Mar 12), and Ford in Verdi’s Falstaff (Mar 12). Peter Brooke – Fasolt (30 th & 31 st August): Peter was a Choral Exhibitioner at Christ’s College, Cambridge and sang with the University Chamber Choir. Opera performances include chorus roles in Idomeneo, Orfeo e Euridice, Don Pasquale, Eugene Onegin, Theodora, Die Entführung aus dem Serail and Die Zauberflöte (Opéra de Baugé). Principle roles comprise Marullo Rigoletto, Curio Giulio Cesare (Baugé), Bottom A Midsummer Night’s Dream (Operalinks, Fulham) and Belcore L'Elisir d'Amor (Chelmsford Opera). Peter has also given recitals of Schubert’s Winterreise and Schwanengesang, and Schumann’s Dichterliebe. Aside from singing, Peter teaches History at City of London School. Oliver Hunt – Fasolt (2 nd & 4 th September): Oliver studied at Trinity College, Cambridge, and the Guildhall School of Music and Drama, where he gained a distinction in his Master’s degree under the tuition of Susan McCulloch. On the opera stage his roles include Dr Grenvil and Marquis d’Obigny La Traviata, Immigration Officer Flight, Guglielmo Così fan tutte, Luka The Bear, and Osmin The Abduction from the Seraglio, performing with companies including Opera North, Garsington Opera and British Youth Opera. He recently performed the role of Claudio in Cambridge Handel Opera’s production of Agrippina, and in October will sing Superintendent Budd Albert Herring in Aldeburgh as part of the Britten- Pears Young Artist Programme. He appears regularly as an oratorio soloist, in works including Handel’s Messiah, Bach’s Passions and the Requiem’s of Mozart, Fauré and Brahms. Oliver has participated in masterclasses with Sir John Tomlinson, Malcolm Martineau and Roger Vignoles, and sung in a concert series of the complete Fauré songs with Graham Johnson. A prize-winner in the 2006 AESS English Song Competition, his recent recitals include the Young Artist Recital at Hereford International Summer School and the Westgate Music Recital Series in Lewes. Oliver is a founder member of the vocal ensemble Stile Antico, whose awards include a 2009 Gramophone Award, a Diapason d’Or de l’Année, two Grammy nominations, and a nomination for the 2011 Royal Philharmonic Society Young Artist Award. www.oliverhunt.com John Woods – Fafner: John Woods was born in the Netherlands and brought up in Scotland. He attended Chetham’s School of Music, after which he studied music with Italian at King’s College London, graduating with first class honours. Operatic roles to date have included Sarastro, Ramphis, Colline, Alidoro, Masetto, Tom (A Masked Ball), 4 villains (Martin Read’s challenging contemporary opera Rainforest), and Figaro (The Marriage of Figaro) both complete and in an abridged version which was filmed by Channel 4. He has also appeared in Parsifal at La Monnaie, La Cenerentola for the Nationale Reisopera, Fidelio, Carmen, Pelléas et Mélisande, Roberto Devereux, Rigoletto and The Queen of Spades for Opera Holland Park, and Eugene Onegin and Don Giovanni for British Youth Opera. As a concert artist, John has appeared regularly in recital for Opera Holland Park’s community outreach programme, in opera galas, in oratorios across the north of England, and in a programme of jazz standards at Manchester’s Bridgewater Hall. Recent engagements have included Don Basilio (The Barber of Seville) for Opera Up Close, a return to Opera Holland Park in L’amico Fritz and Don Pasquale, Prince Gremin for Opera at Bearwood, and Death in The Emperor of Atlantis at the Grimeborn Festival after a successful run in London earlier this spring. He studies with Arwel Treherne Morgan and Ludmilla Andrew. 12 descriptive powers of Wagner’s fantasy, the astonishing mastery of orchestral technique, and many musical beauties exert a magic force to which we surrender readily and gratefully’. Wagner achieves this magic force and orchestral mastery through the use of leitmotivs (leading motives, associated with important emotions, themes, characters, events or objects in the drama), which form the base of the composition, but which he cleverly and intelligently adapts to each new dramatic moment. This provides unity and continuity through what is otherwise four separate fully through-composed operas, and a tool which other composers, particularly Puccini, would use in their operas. As Hanslick said, gone are the set pieces for chorus (they only really feature in Götterdämmerung, in Act II as the Gibichung Vassals of Günther, and possibly as the screams of the Nibelungs in Das Rheingold), individual arias, duets, trios and other such trappings of standard operatic performance and composition. Instead, the drama continually drives the music forward, and one could argue that the music also helps to drive the drama forward too. Das Rheingold introduces many of these leitmotivs and is composed as four continuous scenes, with musical interludes during each scene change. The opera starts on a pedal E flat, and develops into a melodic version of the E flat major chord. From this grows the Rhine theme, or basic Nature motive, that permeates through many of the leitmotivs in the opera, including the Rhinemaiden’s theme, the Gold (before Alberich steals it to make the Ring, which has its own theme), Erda’s theme, and Donner’s theme when he conjures the storm in scene four. Other important themes are presented too, such as the Ring, (these include the power of the Ring, servitude of the Nibelungs, and even Valhalla, a static symbol of Wotan’s power), Wotan’s Spear, (his dynamic symbol of power), Loge’s magic fire, Love, Love’s Renunciation and so on. For a greater understanding of the leitmotivs in the whole cycle and how they are inter-related to many other themes, Deryck Cooke’s recording An Introduction to Der Ring des Nibelungen (Decca 443 581-2) is an excellent starting place, and numerous books have been written analysing the leitmotivs and The Ring cycle. All the characters we meet in Das Rheingold are non-human as we have entered a world of myth. Unlike the later three operas, there is no obvious human element in the story, and yet, Wagner’s portrayal of the gods, dwarves, giants and water-nymphs is actually incredibly human, as they show us reflections of ourselves. The most human characters are probably Wotan and Alberich. It could easily be argued that the two are really different sides of the same character, so completely different in outlook, yet both wanting and achieving the same things. Both seek power, Alberich through the creation of the Ring, Wotan through his spear, which he made from the World Ash Tree. Both seek to rule the world, and both forswear love, Alberich by cursing it to obtain the gold, Wotan by offering Freia (the goddess of love) as payment to the giants for building him Valhalla. Wagner hints at this relationship clearly during the course of the opera, as Loge refers to Alberich in his scene two oration as “nacht-alberich” (night-elf), and Alberich in scene three refers to Wotan and the gods as “Lichtalbern” (light-elves). (So multi-faceted was Odin in Norse mythology that Wagner’s intimation makes perfect sense.) The difference is how each goes about obtaining their goals – Wotan through laws and contracts and a sense of nobility, Alberich through subjugation and slavery, with great sadism and cruelty. When Wotan finally snatches the ring from Alberich in the opening of scene four, the music accompanying him as he sings “Nun halt’ ich, was mich erhebt, der Mächtigen mächtigsten Herrn” (Now I possess that which will make me the mightiest of mighty Lords!), is of such noble colour that we know he would rule wisely. Alberich on the other hand would not, as his music in scene three clearly demonstrates. Possibly the most complex character in Das Rheingold is that of Loge, the demi-god of fire. Not being completely godly allows him the unique position of commentator on the events in Das Rheingold, also somewhat like the Greek chorus. He is the agent through which Wotan finds the solution to his dilemma of how to free Freia from the obligation to the giants. It is Loge who leads Wotan to Nibelheim and succeeds in trapping Alberich, something Wotan alone could not have achieved. It is he who has heard the laments of the Rhinemaidens and brings the news to the gods of the theft of the Rhinegold. And it is he, who at the end of the opera realises the gods may just be heading towards disaster. At the end of Götterdämmerung, he is the agent of the god’s eventual demise, as Valhalla is consumed by his fire. Wagner reflects this musically too, as Loge’s music is chromatic, fast, flickering and changeable. The other gods, Fricka, Freia, Froh and Donner play lesser, but still important roles in the drama, Fricka particularly reminds Wotan of his own laws and acts more like a conscience on him, seeming to nag and belittle him. The giants symbolise human baseness, our lower instincts and nature, but also they remind us of our naivety and innocence, as they take Wotan quite literally when they ask for Freia in return for building Valhalla. 5
Page 1 and 2: Thanks and Acknowledgements: Fulham
Page 3: Ian Massa-Harris - Mime: Since Octo
Page 7 and 8: BIOGRAPHIES - (In order of appearan

Das Rheingold Programme - Fulham Opera

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