![]() One of the strengths of this production is that, although the singers move across massive, nonspecific spaces, with the orchestra in full view, which should have an alienating effect, they always feel physically and psychologically within reach. There was barely a cough or a wiggle as the rapt audience took it all in. But the same applies to this Walküre as a whole. Her luminously intense performance was the kind that lingers in one’s memory. The unique metal of her instrument fits the role like a glove and she portrays the downtrodden but plucky woman insightfully and with deep compassion. ![]() Because, as she proved yet again, Westbroek is an ideal Sieglinde. But the publicity copy could just as easily have read “Don’t miss the first chance ever” to see Eva-Maria Westbroek sing Sieglinde on the operatic stage in her native country. Indeed, director Pierre Audi’s production, the only one from his 1998 Ring cycle which has not been demolished, is still worth seeing or revisiting.
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