Number 202: July 2011 - Wagner Society of England

MIDSUMMER OPERA’S WAGNER CONCERT
St John’s Church, Waterloo. 15th April 2011
Chris Argent
Midsummer Opera is a tiny outfit which has been going, almost invisibly, since
1985. This performance was quite astonishing as it was marked by a Siegmund (John
Upperton) who delivered his lines with remarkable panache, security of tone, confidence
and crystal clear enunciation so that every word was intelligible as well as properly
nuanced, accompanied by a strong element of interaction with Deborah Stoddart as
Sieglinde.
Being entranced by the singing of the Walsung twins set the mind racing as to
where and when one had last heard singing of this calibre. The answers were Alberto
Remedios in the Goodall Ring at the Coliseum way back and Eva Maria Westbroek in the
2009 Valencia Ring. John Upperton and Deborah Stoddart rode the storms from the 85
strong orchestra comfortably and were subtle and sublime in the quieter introspective
passages. Hunding’s voice was, sadly, insufficiently black, Stephen Holloway, who had
sung Ramfis and King Philip for Midsummer Opera, sounding less than threatening.
The orchestra and singers performed without fees or expenses. One would not
have guessed that they had had just three rehearsals. Artistic Director of Midsummer
Opera David Roblou conducted an orchestra of enthusiastic amateurs with some
members of the non-professional Salomon Orchestra providing an extra degree of
backbone. Here was a conductor, a professional interested and expert in the early music
realm, with an obvious clear understanding of the architectonic structure of Wagner’s
music dramas. Perhaps he did let the brass off the leash too readily at climactic points, as
well as allowing a less than perfect attack of the strings on the opening phrases and some
fluffs in the brass near the conclusion of the Funeral March. In compensation, the cellos
were superb at the start of Die Walküre.
The Ride of the Valkyries was given a thrilling performance, the church’s acoustic
ambience enhancing the sound from the orchestra. The Valkyries however were a mixed
bunch, some (such as Deborah Stoddart’s Helmwige) producing a big, rounded sound
while others did not have the necessary clout. Even so, it was a stirring experience
enhanced by the way that John Upperton (directing) injected a degree of dramatic
verisimilitude by giving each Valkyrie a silvery, diaphanous cape and bringing them
forward into the view of the audience one by one, just as specified by Wagner.
In Scenes 2 and 3 from Act III of Götterdämmerung Zöe South (who is scheduled
to sing Woglinde for the Wagner Society) shouldered the role of Brünnhilde with
confidence. Her warm, steady voice tackled the notes head on, competing quite
successfully with the orchestra. Admittedly the spatial volume of St John’s church cannot
compare with that of large theatres, but it would not be surprising to see this singer in
major Wagner roles in international houses one day. The Gibichung twins Gunther and
Gutrune were splendidly sung by Marc Callahan and Antonia Cviic, the former having a
smooth, warm voice effortlessly produced. The end of the Funeral March was notable for
its dramatic handling. Having been speared by Hagen, Siegfried moved slowly to the
central aisle where the six Gibichungs levered his body onto their shoulders and carried
him slowly out of our sight to the rear of the church. Wagner specified a funeral
procession, and it was very refreshing to see his stage directions being respected.
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