I saw Somtow's new production of Das Rheingold at the TCC last night.

It would have been an excellent college production of the opera. As a professional production I have rarely been so underwhelmed before.

There was an attempt to package this as incorporating Hindu and Buddhist elements- which it did, sort of, in the costuming.

The staging and props were more minimal than minimalist- in Wagner the scenes and staging are a major part of the show, and in this production that fact remained completely unexploited. It was a particularly low moment at one point when the paper covering one of the few sets (a staircase) ripped off the side as it was being rolled from its "river" position to its "mountain" position. A giant yin-yang symbol was impressive as an opening set, but quickly got tired as it was the centerpiece or frame for every single blessed scene. The only surprise or innovation after the curtain was a dig at Thaksin: the rainbow bridge to Valhalla at the end led to a cartoony backdrop of the Bangkok sky line.

The Thai elements in the costuming seemed both appropriate and well-done; however, an attempt at bold allegory failed miserably in terms of dressing Freia as a short-skirted school girl and Loge as a tourist in short pants and floral shirt; both of these perfomers were, um, rather bursting out of their costumes. It is also typically done to make the giants appear, well, giant- dressing them up as demons didn't really have the same cachet.

The singing was competent, though one could have hoped for a stronger voice in such a major role as Wotan. The roles of Loge, Alberich, and the cameo by Erda were sung especially well, though the latter did not really deserve the pretentious "bravo" she got mid-performance.

In terms of acting, it was bland. Few of the performers were convincing- with the notable exception of the role of Alberich, which was done quite well with the appropriate amount of spleen and ego. Freia was further professionally humiliated by forcing her to crouch behind a shopping cart (don't ask) for most of the last scene. I somehow don't see her putting this production prominently on her resume.

And finally, the music. Over the years, Wagner has been interpreted, re-interpreted, and misinterpreted so many times that it's not unexpected to get weird or unfortunate social or political allegory grafted to the story line through sets or costumes- but no matter how bad it got, you could at least depend on the music. Not with this orchestra. The horns were off key from the very first measures and unstable through most of the piece, climaxing in graceless disharmony once again in the closing triumphal march. Through the entire work one could rarely relax in any feeling of security before one of the trombones or french horns flubbed a simple interval harmony amongst themselves; the winds were not much better in this regard. Luckily, the trumpet didn't blow any of its signature solo moments. The strings were ok. The conducting was competent but uninspired, particularly lacking dynamic range. The instrumentation was sufficient but odd- 6 harps, and the special low-range tubas borrowed from Germany, but grating and insufficiently tuned anvil hammers.

You just can't do Wagner if your horns and winds can't play in tune.

"Steven"

Steven

Thank you for your post. Interesting reading and the first me tink on “Arts” in this forum.

Keep up the good work.

Yours truly,

Kan Win