…and in the end, it all made sense. For the most part.
The first two instalments of Stefan Herheim’s new Ring cycle for the
Deutsche Oper – Das Rheingold, which opened this past June, and Die
Walküre which opened a year ago – were ingenious pieces of theatrical
invention, delightful as standalone works of drama, yet brimming with images
and ideas that seemed to pull its central concept in any number of directions
at once; while watching the ideas accumulate during those first two evenings,
one was often left wondering where Mr Herheim was going to go with them and how
he might resolve them all within the framework of the operatic text he was
duty-bound to follow. Although we still have to wait until next month for the
belated première of Siegfried, Mr Herheim’s Götterdämmerung – which
opened the new season at the Deutsche Oper – brought…
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