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The Best for Last Vienna
Staatsoper
06/15/2025 - & June 28*, 2025, June 4, 14, 2026
Richard Wagner: Götterdämmerung
Monika Bohinec (Erste Norn), Regine Hangler (Zweite Norn, Gutrune) Szilvia Vőrős (Dritte Norn, Waltraute), Anja Kampe (Brünnhilde), Andreas Schager (Siegfried), Clemens Unterreiner (Gunther), Samuel Youn (Hagen), Jochen Schmeckenbecher (Alberich), Ileana Tonca (Woglinde), Isabel Signoret (Wellgunde), Stephanie Maitland (Flosshilde)
Extrachor der Wiener Staatsoper, Thomas Lang (chorus master), Orchester der Wiener Staatsoper, Philippe Jordan (conductor)
Sven-Eric Bechtolf (stage director), Rolf Glittenberg (sets), Marianne Glittenberg (costumes), fettFilm (videography)
A. Schager, A. Kampe (© Wiener Staatsballett/Michael Poehn)
Having seen the first three instalments over the last few days, I had already formed an opinion of this Ring: excellent singers, an unparalleled orchestra, but uninspired staging. As with other opera aficionados with whom I spoke, I had high expectations and some trepidation. Given the work’s length, especially the first act, which lasts as long as La bohème in its entirety, this could have been a challenging experience. Fortunately, it was just the opposite. This was without doubt the best of Vienna’s four Ring operas.
The sets for this production were even more modest than for previous Rings. Happily, this sparseness didn’t hamper the action, as previous gaffes, such as Walhalla’s rock slab living room in Das Rheingold; the vampire Valkyries; the horse barbecue in creating the ring of fire in Die Walküre; a snake’s eye in lieu of a dragon; and Brünnhilde, in Siegfried, covered in a death shroud before being awakened. In fact, the sets in this production were minimal, a vast improvement over Sven‑Eric Bechtolf’s more “elaborate” ideas in the previous three works.
Brünnhilde’s cliff could have looked more dramatic, but was intriguingly underwhelming, reminiscent of a Christmas tree lot. But why saplings rather than majestic trees? Perhaps as Brünnhilde’s cliff was barren during her long sleep, these trees only grew after her awakening. This might make some sense, but the visual effect was truly disenchanting.
Prior to the performance, it was announced that Anja Kampe was unwell, but had decided nonetheless to perform. This was alarming news, as Brünnhilde is the uncontested star of this opera. Fortunately, Kampe still sounded in top shape, and one could not have imagined a better artist in this pivotal role.
Andreas Schager, today’s most accomplished dramatic tenor, was impressive as Siegmund in Die Walküre and as Siegfried in the eponymous opera. However, his relentless insistence on singing forte and fortissimo in the latter greatly annoyed. Though his role in Götterdämmerung is shorter in length, Schager was able to nuance his voice, showing different facets of the character. Most impressive was his vocal morphing into Gunther in Act II, after having used the Tarnhelm to cross the sacred fire surrounding Brünnhilde so that he may claim her for Gunther. For those who may have forgotten, this cowardly act was under the effect of a philtre that made him forget. Schager transformed his voice into a more baritonal one and his proud posture into one resembling Gunther’s.
Clemens Unterreiner was an outstanding Gunther. He perfectly portrayed a weak monarch or leader. Marianne Glittenberg’s regal garb for Gunther evoked those of an oriental potentate of a vassal principality; an elaborately-decorated vest and quasi-military pants with a stripe on each side, like a wannabe military hero. His warm baritone contrasted with Alberich’s dry one, and, more importantly, with Hagen’s bass.
Bass Samuel Youn was one nasty Hagen indeed, perfectly channeling the self‑loathing, resentful underling. His voice was light for a bass – he sounded more like a bass‑baritone. This choice might have been deliberate, as a deep, warm bass may have sounded too appealing.
The contrast of personality between Siegfried, Gunther and Hagen was striking without being caricatural. In Act II, in his adolescent‑like exchange with Gunther, Siegfried managed to act in a puerile fashion. Likewise, in Act III, Schager’s musings with the Rhinemaidens betrayed Siegfried’s innocence. The Rhine in which the Rhinemaidens swam looked like a YMCA indoor pool, but it did the job.
The opening of Act I, showing the Hall of the Gibichungs, was the only scene with somewhat elaborate sets: a modern living room, far more elegant than Fricka’s in Walhalla in Das Rheingold. The Poltrona Frau leather sofas, perhaps the only costly props, deftly evoked the nouveau riche status of Gunther and his court.
The least felicitous vocal casting was Regine Hangler. The innocent Gutrune should be a virginal lyric soprano, but Hangler’s was a less pure spinto sound betraying a big vibrato. However her acting, especially after learning of Siegfried’s demise, was thankfully effective.
The most successful image was Hagen’s call of the vassals who were genuinely intimidating, their helmets and garb evoking SS officers. Another striking image was Alberich’s appearance in Hagen’s dreams, evoking Murnau’s film Nosferatu (1922), when the vampire appears in a dream.
The greatest scene in the opera was the much awaited “Immolation Scene,” the uncontested highlight of the evening, and of this entire Ring cycle. This was thanks to Anja Kampe’s towering Brünnhilde. In addition to a powerful voice, Kampe’s phrasing was admirable. Alas, Bechtolf muddled the finale with another barbecue fire (generated by video). Lamentably it was a forgettable final image for an otherwise memorable Götterdämmerung.
Ossama el Naggar
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