La regia di questo Götterdämmerung ha luci ed ombre. Le luci sono rappresentate -ad esempio – dalla foresta simbolicamente rappresentata da enormi maschere che incombono sui protagonisti e segnatamente nel colloquio fra Hagen e Alberich (in questo caso in forma umana mentre più spesso solo rappresentato  – più significativamente – da una voce che proviene da un al di là fumoso e ignoto). Del tutto scadente invece la rappresentazione del popolo dei Gibicunghi che sembrano usciti da una piazza S-Marco durante il carnevale. E che dire del ballerino che si contorce a corredo della salma di Sigfried morto nel finale maestoso ch conclude il ciclo wagneriano. Il clima dovrebbe essere quello cupo, tragico, grandioso celebrativo della scomparsa dell’eroe mentre il folletto che si aggira c’entra come i cavoli a merenda. 

PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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The final drama of the Ring Cycle, Götterdämmerung, is the epitome of Wagner’s conception of the ‘pure hero,’ which replaces the decadent world of the immortal gods—who, in this case, meet their end. The mortality of the gods and their replacement is one of the most significant features of Wagner’s ‘creed,’ and constitutes a true unicum in all literature. Götterdämmerung concludes the Ring Cycle at La Scala, developed over several years and now to be performed again in its entirety within a single month with the same cast. It is a monumental work in which the destinies of the real world and those of mythical heroes intertwine, the latter forced to confront a miserable and corrupt earthly reality. This reality is embodied by the kingdom of the Gibichungs, led by a weak king (Gunther) in search of self‑justification, a submissive sister (Gutrune), and a half‑brother (Hagen), son of Alberich and designated by him to avenge the theft of the ring and the gold stolen in Das Rheingold. There is no need here to recount the plot, which ends with the treacherous murder of Siegfried. The staging of this Götterdämmerung has both strengths and weaknesses. Among the strengths is, for example, the forest, symbolically represented by enormous masks looming over the protagonists—particularly effective in the dialogue between Hagen and Alberich (the latter appearing here in human form, though more often represented—more meaningfully—as a voice emerging from a smoky, unknown beyond). Entirely disappointing, however, is the portrayal of the Gibichung people, who look as though they have stepped out of St. Mark’s Square during Carnival. And what can be said of the dancer writhing beside Siegfried’s corpse in the majestic final scene that closes the Wagnerian cycle? The atmosphere should be dark, tragic, grand, celebrating the hero’s disappearance, while this capering sprite feels as out of place as a bull in a china shop. Let us turn to the musical side. Simone Young’s conducting was exceptional—deservedly greeted with thunderous applause. She drew from the orchestra every nuance required by the drama, with gestures at times imperious, at times more supple, yet always capable of conveying the musical meaning of what was being performed. (One wonders if in Venice anyone’s ears are burning… She should come to Milan to understand how one conducts without indulging in hair lotions.) Camilla Nylund’s Brünnhilde was commanding, never once making one long for Iréne Theorin from the previous La Scala production. She dominated the entire cast, delivering a sweeping final scene before Siegfried’s body that recalled Isolde’s death. Klaus Florian Vogt offered a very good Siegfried, though in some passages he did not fully convey the character’s dramatic power. Less impressive was the Hagen of Klaus Florian Vogt — intonation always perfect, but lacking the sinister tragic weight the role demands. The same can be said of Johannes Martin Kränzle as Alberich. Russell Braun and Olga Bezsmertna, with performances of decent professionalism, matched with their vocality the theatrical modesty of Gunther and Gutrune. Special praise goes to Nina Stemme as Waltraute, rightly greeted with warm applause from the audience. In any case, this was a major La Scala production of Götterdämmerung, enthusiastically applauded by a not‑so‑large audience (partly due to the length of the performance and the late starting time. Götterdämmerung—like abroad—should begin at 4 p.m., not at 6!).

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PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!