Above: William Johns and Dame Gwyneth Jones in SIEGFRIED, photo by Winnie Klotz/Metropolitan Opera
Continuing the saga of my first complete week-long RING Cycle in May 1989, we come to SIEGFRIED, the third evening of the Cycle...the scherzo of the RING! SIEGFRIED is perhaps the most difficult of the four RING operas to get into, party because for two long acts male voices dominate - the Forest Bird sings briefly in Act II - and because there is not a lot of action. But the music is deeply rewarding and the more you listen to this opera the more beautiful it seems.
My diary entry, written the morning after:
"Very impressive despite some longeurs. The orchestra played so beautifully for Levine - the Act II Forest Murmurs were especially well-performed. The cast was very strong with Dawn Upshaw sounding lovely as the Forest Bird and John Macurdy making a very good impression as Fafner: his somewhat drowsy tones were really so well-suited. Horst Hiestermann's demented, tireless acting made his Mime admirable even if the voice at times seemed almost a parody of old Wagnerian character-tenor style. He was hugely applauded.
Franz Mazura again made a tremendous effect as Alberich - he is one of the grandest elements of this RING. His malevolent voice and superb acting make his performance unusually powerful.
The grandly-voiced Erda of Gweneth Bean (above) gave some of the evening's most thrilling moments. Her majestic timbre filled the role to perfection. The audience really took her to heart, giving her an enormous ovation at her curtain calls.
William Johns brought more of a feeling for line and musicality to the music of Siegfried than most previous contenders; he sang some truly beautiful soft phrases yet he also had plenty of power where needed, especially some large, steely top notes. His acting is rather limited - he did not throw himself into the role physically like (Wolfgang) Neumann did. But vocally he was just about perfect.
Hans Sotin 's marvelous Wanderer was a major force in this performance and he has been a truly god-like otan for the Cycle. His singing here was strong, grandiose, and shot-thru with humanity. His 'Riddle Scene' with Hiestermann and his summoning of Erda were but two high points in his splendid portrayal. "Bravo!" to this excellent artist!
With Dame Gwyneth Jones' appearance as the awakening Brunnhilde, this performamnce - already so very strong - moved into a still higher level. She gave a thrilling performance in every sense: vocally, dramatically and physically she embodied the role and gave us palpitating thrills in doing so. Her voice to me sounds even more huge than Nilsson's had in this house and I think that Jones now has the wobble pretty well under control. A random attack here or there might have an oozy sound, but overall she was vocally magnificent with the top-C's clarion, and brightly launched into the big hall. In quiter moments, Jones' deep femininity suffused each phrase, bringing her joy, momentary doubt and final rapture vividly to vocal life. She looks like a goddess and she sounds like one! Superb! Bravissima!
Huge ovations at the end with giant roars whenever Dame Gwyneth appeared for her bows...many curtain calls, rhythmic applause, and ecstatic screams in a truly epic demonstration of affection for the singers and for Levine."
Metropolitan Opera House
May 4, 1989
SIEGFRIED (Wagner)
Siegfried...............William Johns
Brünnhilde..............Gwyneth Jones
Wanderer................Hans Sotin
Erda....................Gweneth Bean
Mime....................Horst Hiestermann
Alberich................Franz Mazura
Fafner..................John Macurdy
Forest Bird.............Dawn Upshaw
Conductor...............James Levine