Even in some of the most traditional
productions of the Ring, the world of gods, dwarves and giants – a world
into which mortals have been dropped like lab-rats into a maze – is portrayed
as inherently unstable; it is only after that world collapses and brings an end
to the wrangling of its mythological figures that humanity can consider itself
free. Although Dmitri Tcherniakov’s new production at the Staatsoper Unter den
Linden has been about as untraditional as they come, his Götterdämmerung
– which had its première exactly a week after Rheingold first took the
stage – brought the cycle to a similar conclusion. In telling the story of
Brünnhilde’s hard-won escape from the vaguely sinister E.S.C.H.E. institute, Mr
Tcherniakov achieved a level of emotional and thematic closure that, even at
the end of Siegfried, was far from guaranteed.
Th…
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