Apocalypse wow... the Ring Cycle’s epic finale
Götterdämmerung, RSNO (Usher Hall, Edinburgh) Verdict: End of an epic ★★★★★
This is the way the world ends; with a bang, not with a whimper... as Ts Eliot might have written, had he been an opera critic. But what an end to the Festival, as the four-year presentation of Wagner’s Ring Cycle came to a tumultuous climax with Götterdämmerung, the grandest grand opera of them all.
Back in 2016, many were unconvinced by the notion of presenting the Ring over such a long period, in concert performances of one opera a year at the Usher hall.
But it started brilliantly – and just got better. Now it is over – but no one who saw any of it, and particularly those of us lucky enough to have been present for all of it – will ever forget it.
it has been one of the great triumphs of the international Festival’s modern era.
Whether or not you think you like Wagner, there are many who will, sometimes grudgingly, agree that if you have never been to a performance of this opera, then you have never been to the opera.
That sounds mind-blowing, but it’s true; and it’s true because this is art as it is scarcely ever conceived any more.
Götterdämmerung is what it says on the tin – the Twilight of the Gods. it is the end of an epic; and in itself the epic to end all epics.
it is the Apocalypse. it is Armageddon. it is the End of Days. such things are unfashionable to speak of any more. But
they were sung of in the Usher hall in magnificent manner.
it was such a good decision to make this the climax of the Festival. Right from the start, it was special – and special because every member of an outstanding international cast contributed fully to a magnificent whole.
As the Norns, Arbroath’s own Karen Cargill, Ronnita Miller and Erin Wall, true Wagnerian all, set a spinetingling scene.
Taking on the tale of betrayal, death and destruction, the wonderfully named American soprano Amber Wagner was vocally immense as siegfried’s nemesis (or one of). Estonian bass Ain Anger – another name to conjure with – was a gripping, menacing hagen.
Mention must also be made – and not only name-wise – of Josef Wagner as his slithery half-brother Gunther.
As the Rheinmaidens, appearing again for the first time since the first episode, Danae Kontora, Claudia huckle and Edinburgh-born Catriona Morison were a triumphantly glamorous trio, finally taking back possession of the Ring as they dragged the odious hagen to a watery death.
As siegfried, Burkhard Fritz cut a touching figure as a hero destined to die.
Continuing the theme of an outstanding ensemble, the RsNO under sir Andrew Davis turned in a tour de force of a musical performance, keeping up a superb standard for hours on end. As well as its 100 musicians, praise must also be paid to the 65-strong chorus of young singers from the Royal Conservatoire of scotland.
But an epic opera needs more than an excellent ensemble and this was provided by the undoubted star of the show – and of the entire Festival.
Christine Goerke was utterly immense as Brunnhilde – as she has been while singing the role throughout this Edinburgh international Festival Ring Cycle. The biggest disappointment of the Festival was the cancellation of her earlier recital at the Queen’s hall for ‘personal reasons’, throwing up the horrifying prospect of her pulling out of Götterdämmerung as well.
Thankfully, that calamity did not come to pass.
ShE was quite simply wonderful, from the quietest to the loudest passages, displaying an uncanny ability to match every vocal nuance to every moment.
so it was that a scots audience was once again privileged to witness the preeminent Wagnerian dramatic soprano of the age showing her mastery in the greatest opera of them all, and at the greatest festival of them all.
This was truly one of the great Festival moments – and as it all ended, i looked and could just see, in the far corner of the Usher hall, Wotan and the Gods unfurled in flames and smoke as Valhalla crashed and burned.