RIPOSTE
by RIP RENSE |
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VAL-HELL-A
Feb. 25, 2009
In Richard
Wagner's "Das Rheingold," the first of the four operas in his "Ring Cycle," the Rheingold is stolen by the hideous, malicious
dwarf, Alberich, after he renounces love.
In L.A. Opera's "Das
Rheingold," which debuted this past weekend, the "Rheingold" was stolen by a
man with a hideous, malicious dwarf brain, Achim Freyer, after he renounced
love of opera. Or at least respect.
Freyer is the so-called
director and designer of L.A. Opera's first-ever staging of the titanic
four-opera saga of gods, half-gods, humans, and foibles, "Der Ring Des
Nibelungen," and it's liable to be the last. This Ring could be headed
down the critical sink. Even the L.A. Times' Mark Swed,
notorious for getting breathless to the point of near hysteria over radical
reinterpretations, could not bring himself to endorse this atrocity.
Instead, in his “Rheingold”
review, Swed mostly played reporter and
reserved final critical judgment.
Ring cycle? Ring sigh-cle.
Los Angeles might want to rethink the big citywide festival it has planned
to coincide with the three full "Ring" productions set for spring, 2010. How
do you throw a party for someone that nobody likes? Well, let's qualify
that. There was standard applause for "Rheingold" on
opening night, and the obligatory shouts of "bravo!" by the obligatory
people who love to hear themselves shout "bravo!", and who would shout
"bravo" for dancing donkeys if they paid $80 to a couple hundred to see
them. (Dancing donkeys, by the way, would not have been out of place in this
production.)
But one thing that Swed
did not report was the number of boos that broke out when Freyer and his mad
scientist white hair bounded on to the stage for his curtain call. These
were not garden variety undertone "boo's." These were lusty, vociferous,
animal boo's that hammered the air like the giant, Fafnir, hammered his
brother, Fasolt, with that club in scene four.
Er, check that. In
Freyer's comedy version, Fafnir and Fasolt were two skinny mime-show shadows with cueball heads
that sort of
danced spastically around before one knocked the other's cueball right off
(this is the post-911, terrorist decapitation "Ring," you see), causing it
to roll comically around the stage. The audience laughed.
Das Rhein(fool’s)gold.
At first, I must admit, I
didn't hear all the boo's. That was because my own "boo" was drowning them
out. The most fun I had all night was cupping my hands to my face and
loosing a baritone that for volume, rivaled the king of the gods, Wotan (Vitalij
Kowaljow.) Whose own imposing baritone, by the way, was rather constrained.
Of course, this just might be because Freyer had Vitalij locked inside of a
(plastic? wood? papier mache?) "costume," better described as an iron
maiden, with a large painted cyclops eye on his bulbous, white spider-body
head (and, in case you missed that one, another painted on his chest.) Meanwhile, the
king of the gods' lost eye, the one he had given up in order to win his
wife, rested at the front of the stage, big and blue and unblinking, about
five-feet across, for undoubtedly profound reasons. Add the big, oval
"world" stage in the middle, with its longitude/latitude grid, random
numbers, and it appears that Freyer has watched the opening sequence of "The
Twilight Zone" once too often.
Reinterpreting opera has
long since become a license to change anything and everything, any way you
like, regardless of what bearing it has on a composer’s intentions, plot
logic, dialogue, music. The more you dabble, the more the critics dither,
and the more the bravo-yellers and poseurs have a good time. And the more
people who understand the power of a well-told story walk out of opera
houses feeling cheated.
Woody Allen’s novel recasting of “Gianni Schicchi”
in the vein of an old Italian movie was highly amusing, but undercut by the
absurd stabbing death of Schicchi at the end, contradicting Puccini, the
music, and Schicchi's final speech. The late film director, Herb Ross,
tarted up L.A. Opera's “La Boheme” as a garish good-time pageant inhabited by madcap,
wacky, loveable Bohemian bozos that---whoops---also finds the leading lady
dying at the end (as extras clomp around.) Another updating of that opera to
the beat 1950’s begged credulity, as people did not generally wither away
and die untreated from tuberculosis during the Eisenhower administration.
Then there was, memorably, L.A. Opera’s Ian Judge-directed (or should we
say, erected) “Tannhauser,” realized as a flaming red gang-bang, complete
with nearly-nude simulated fellatio, cunnilingus, sodomy, and even
heterosexual intercourse. Suffice to say that Judge could have had a hell of
a career directing Long Johnny Wadd and Linda Lovelace.
Wagner’s operas have
suffered from some of the most egregious meddling, ironically originating in
Bayreuth in the (opera) house that Wagner built, at the festival long
maintained by his descendants. The latest such heir, 30-year-old
great-granddaughter Katharina, has seen fit to insert poor Richard himself
into “Die Meistersinger,” wearing diapers and parading around with an
outsized phallus. (Integral to a joyful story centered around a singing
competition, exalting the fraternal spirit of man, wouldn’t you say?) And so
it insanely goes, from WWII Nazi holocaust survivors mysteriously showing up
in medieval “Lohengrin,” to lesbian leather-clad biker Valkyries, etc., ad
nauseum.
And now L.A. Opera’s
three-ring Ring Cycle. I mean, Placido, what gives? As much as one admires
and loves (L.A. Opera director) Domingo, one remains confounded by his
endorsement of the likes of Robert Wilson (who turned “Madame Butterfly”
into a frozen, Kabuki/Noh-like minimalist tableau, violently at odds with
Puccini’s feverishly melodic music) Judge, and now, Freyer, previously a
painter by trade. There is some good news: Domingo’s other opera
company, Washington D.C., is producing a "Ring" with the characters
transformed into cowboys and Indians, and that's starting to look
pretty good next to L.A.
Yet not everything is the
director's fault.
“Rheingold” is an often static work, dramatically, a sort of god encounter
group, trying to hash out the relative merits of wealth, home, kidnap
negotiation, power. Still, it has compensating dramatic sequences: dwarf
minions forging gold, the smackdown and fratricide of the giants, a terrifying thunderclap clearing
the air for the gods to stride across a rainbow bridge, even Alberich’s
salacious pursuit of the slippery Rhine maidens. None of these things seemed
to
interest Freyer, who preferred to actually increase the static aspect
of this nearly three-hour (no intermission, as per Wagner's
bladder-challenging direction) opera. (One quakes at the coming five-hour
Rheingold sequel, “Die Walkure.”)
In fact, the gods---who
look like a mixture of the psychedelic monsters from The Beatles’ “Yellow
Submarine” and the animation of Monty Python’s Terry Gilliam, but not as good---barely move. They stand, arranged around “the world” like numbers
on a clock, a clock evidently caught in a power failure. Mercifully, Wotan’s
wife, Fricka, encased in a cone with six-feet-long arms extended
perpendicularly to her right, has hands that automatically flip up and down.
You knew
you were in trouble at the outset, when fiendish Alberich, while singing of chasing
and grasping at the teasing Rhine maidens, stood perfectly still, declaiming
through a large cardboard head. Why, you wonder, does he complain of darting
about on slick riverside rocks when he is moving less than a guy about to be
shot by a firing squad? You have to add a willing suspension of disbelief to
your willing suspension of disbelief.
Generally, such inaction
is relieved by such radical dramatic devices as. . .gesturing. . .walking
around. . .acting. But Freyer’s gods are marooned inside costumes (by
daughter Amanda Freyer) that would be at home in any respectable acid
casualty’s nightmare---except when they are mysteriously paroled from papier mache prison for a minute or two
in order to sing unencumbered. Example: Freia, the goddess of youth, repeatedly emerges from her costume, picks it
up, scurries to the front of the stage (the oval “world” thing), lays it
down, then lounges there, singing, stroking the shell (which features hands holding a
tray containing three or four heads, for reasons known only to God and Freyer, and perhaps not God.) At one point, she caresses the costume’s
breasts. Of course, no opera director worth his or her salt peter passes up
a chance to throw in a little sexual weirdness these days, preferably
homosexual. The 19th century composers, you see, were unaware of their
Freudian complications, so it is up to the interpreters of our day to
enlighten us as to these vital matters. (Besides, this is the year of
“Milk,” and there are a lot of gay patrons out there.)
And yes, I've read the
oh-so-weighty claims of Freyer's costumes
demonstrating the "split personalities" and "inner conflicts" of the
characters. Oooooooooo. How revealing. I would never have guessed they were
in turmoil, otherwise.
In the end, this
“Rheingold” was much closer to a concert performance of an opera, with
costumes and props. At times, it was little more than a puppet show, though
admittedly a weird one. Think: low-rent Dali.
But this is the least of
the problems in Freyer’s brain-fry. This thing no more merits logical
dissection than a manifesto of Charlie Manson. Let us skip, at random
example, to the sudden and inexplicable appearance in scene four of circus-y
creatures Wagner neither wrote nor imagined, including a topless woman who
would give Carol Doda or Watermelon Rose a run for the money. Hojotojo! Did
Brunhilde bust her breastplate? What did this represent? Wotan’s need for
nurturing?
Finally, there is the
piece d’ resistance of preposterousness: a sort of Picasso-esque
Sopwith Camel hanging overhead that suddenly takes flight just before
the gods enter their palace in the clouds. What was this, a
deus ex machina? What was God-in-a-machine doing hovering over an
opera about. . .gods? Let alone flying a Sopwith Camel? (I’ll take bets that
this thing also appears and flies off as all creation goes up in flames in
the fourth opera, "Gotterdamerung.") Had Snoopy been in the cockpit, it would
not have been out of place for Achim in Freyerland. Really.
I mean, Achimmmm. . .Achimmmm.
. .Ah-CHOOOOO!
The sad thing about all
this is that the singing in the production was uniformly fine, and that such
monumental effort was expended by hundreds of hard-working good people on
such travesty. That millions of New Depression dollars were spent
on effects that mostly desecrated the opera, when they might have so
enhanced it, is practically scandalous. Yes, some of the effects were compelling,
making the overall failure all the more exasperating. The Rhine maidens,
with their mirror images (acted out by upside-down humans) floating in a
river of dark fabric, were absolutely enchanting. The use of a scrim for the
whole work, enabling weird and eerie color projections, clouds, red
shattered-window explosions (notably during the downright mousey
thunderclap), was successful enough. Loge’s strobe-lit materialization,
zipping sideways across stage like some kind of hellish crab, was a delight. But most
everything else was crippled by tail-chasing, navel-gazing
over-conceptualizing, where simple, literal representation would have been
so welcome. Consider the giants, acted by two tall guys in hard hats, one in
sort of black skullface, the other white-ish. Enormous heads rose behind
them as they sang, while the occasional gigantic hand (shades of “Yellow
Submarine’s” flying glove) lumbered clumsily across the stage. Yawn.
Chuckle. And not to nitpick, but why, oh why, was the gold a kind of
dull white (except for a later appearance in the form of gigantic, goofy
doubloons)?
The greatest casualty in
this debacle turned out to be. . .the music. No, redoubtable L.A. Opera
conductor James Conlon’s rendering was sensitive to detail,
carefully couched, evocative. At least I think it was, as I had trouble hearing it. I don’t
know if it was the scrim hanging over the orchestra, or what, but as Swed
correctly noted in his review, the orchestra sounded like it was playing
from another room. When the gods entered Valhalla, it sounded more like they
were going for a stately stroll in the park. Wagner wanted the orchestra
hidden in his music-dramas, not the sound.
And speaking of
entering Valhalla, this climactic sequence was represented by the appearance
of an enormous piece of red fabric sweeping over the stage. (Blood---get
it?) Yes, those impossibly thrilling, majestic Wagner horns---comprising one
of the most goose-pimple-arousing passages in all music--- were illustrating
a bedsheet. Oh, and a little multi-colored
squeezebox, left behind by Froh. (The rainbow, apparently.)
What the director, and
Domingo, and much of the opera world forget about “The Ring,” is that symbolism and concept are built right into the story.
The characters are innately metaphorical.
They are gods, fer godsake. They live in mythical and magical places, yet
are saddled with the most classic, nagging human trappings: jealousy, bad
decisions, greed, lust. They exhibit the smallest---and the grandest---of
human impulses, from small-minded authoritarianism to noble sacrifice. In
truth, there is very little in the panoply of human experience that is not
present or implied in Wagner's text, music, and tale. It most certainly does
not require additional, grafted-on symbolism or conceit. Show me a Ring that
tells the story as written, and I’ll show you a Ring that moves the
listener, and inspires contemplation. Most operatic directors reading this
are perhaps snickering and sneering at what they consider to be hopelessly
naïve, passé thinking. But they are wrong. A more literally
staged, and intelligently directed “Ring” (such as the duly famed Seattle
Opera production) would be almost revolutionary today---as opposed
to one that has the audacity to override Wagner’s genius with the imposition of
sophomoric, reductive “concepts.” And Sopwith Camels.
Small wonder that
Freyer’s explanation of his approach is almost as funny as
the cueball head stick-figure giants.
"I do not want to do what
Wagner wants," he says. "I want to do a concept to show what Wagner wants.
You understand?"
No.
In sum, Freyer’s
“Rheingold” (Wagner would sue to have his name removed) reminds me of a
great scene in Albert Brooks’ movie, “Defending Your Life.” Brooks has died
and gone to heaven, where he is met by tour guide and angel Rip Torn. In
heaven, Torn explains, you can eat whatever you want, all the time, and
never get fat. Brooks ecstatically piles plates with pancakes and sundry
goodies, starts chowing down, then notices Torn’s repast. It bears a very
strong resemblance to something that a dog with poor digestion might leave
behind, and Brooks, aghast, asks, “What’s that?” Torn replies something
alone the lines that after you’ve been in heaven, eating whatever you want
for a few million years, you develop arcane tastes.
So it is with the modern
direction of opera. Freyer and his fraternity have come to confuse
pancakes with. . .crap.
OTHER 'RHEINGOLD' REVIEWS:
Silverman: Ring Has Less Than Golden Start
Mangan: 'Rheingold' Astonishes at L.A. Opera
Excerpt: "Achim Freyer is a brilliant genius." (What, as opposed to a stupid
genius?)
Alan Rich in Variety
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