I’ve seen this so many times, but I think I underestimated Altmeyer. She’s fantastic, using a very Italian legato line rather than the usual screeching. Someone said she not anguished enough - don’t forget that only the beginning of this soliloquy is anguished; Sieglinde is quite furious as she continues. “Sweet Revenge” is what she demands when she realizes that the old man was her father, and this stranger is her brother.
@@alexsandroalvesartecultura5116 The lasers were really off-putting. Also, punk costumes? Leather jackets? I would much rather watch Chéreau's production, or Schenk's.
@@davidbastardo4154 Having to disagree. Inserting The Ring in a reality on the verge of the nuclear apocalypse, in addition to being realistic, matches the work. Not to mention the voices, for the most part, better than those of Boulez/Chereau. Sound and image, then, are beyond compare.
I always have an issue with productions which make Hunding's house very grand, as here in late Georgian splendour. Who has a house like this without a team of servants? That being the case, how does Siegmund just wander in, unchallenged?
Because he needed to set off his plan in motion, which was a long term plan. By remembering who Wotan was, Sieglinde probably foresaw that it was her fate, and simply accepted it.
Okay, each its own. And i´m not happy with her sliding singing: the intonation starts too deep very often and with a strong portamento from below grounds she reaches the right pitch of the note. It´s a frequently encountered bad habit from many singers in this heavy repertory, but i don´t like it.
![The Bayreuth Audience Reacts to Chéreau's Ring (1976) [SUBS]](/img/n.gif)
I’ve seen this so many times, but I think I underestimated Altmeyer. She’s fantastic, using a very Italian legato line rather than the usual screeching. Someone said she not anguished enough - don’t forget that only the beginning of this soliloquy is anguished; Sieglinde is quite furious as she continues. “Sweet Revenge” is what she demands when she realizes that the old man was her father, and this stranger is her brother.
Best production ever.
Kupfer/Barenboim.
@@alexsandroalvesartecultura5116 Is that joking?
@@davidbastardo4154 That is the truth.
@@alexsandroalvesartecultura5116 The lasers were really off-putting. Also, punk costumes? Leather jackets? I would much rather watch Chéreau's production, or Schenk's.
@@davidbastardo4154 Having to disagree. Inserting The Ring in a reality on the verge of the nuclear apocalypse, in addition to being realistic, matches the work. Not to mention the voices, for the most part, better than those of Boulez/Chereau. Sound and image, then, are beyond compare.
I always have an issue with productions which make Hunding's house very grand, as here in late Georgian splendour. Who has a house like this without a team of servants? That being the case, how does Siegmund just wander in, unchallenged?
So basically Wotan was at his daughter Sieglinde’s wedding to an abusive husband, but did nothing to help her 🙁
Because he needed to set off his plan in motion, which was a long term plan. By remembering who Wotan was, Sieglinde probably foresaw that it was her fate, and simply accepted it.
Okay, each its own. And i´m not happy with her sliding singing: the intonation starts too deep very often and with a strong portamento from below grounds she reaches the right pitch of the note. It´s a frequently encountered bad habit from many singers in this heavy repertory, but i don´t like it.
Voice very pretty but not at all an anguished suffering Sieglinde.