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FROM AROUND THE WORLD: ZURICH.(Review)

Opera News

| January 01, 2001 | KOEGLER, HORST | COPYRIGHT 2001 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Approaching his sixties, Robert Wilson has set out to climb the Himalayas of opera, Richard Wagner's Ring des Nibelungen, thus topping even the twelve-hour endurance test of his The CIVIL WarS. Reaching his first station at the Zurich opera house on October 8 with Rheingold, he made the horizons of his mammoth project brilliantly clear.

Gone are Teutonic mystification, nineteenth-century historical references and post-Hiroshima topicality; abandoned are all political, social critical or psychological interpretations, let alone any attempt at realism. Contrary to all the trends of recent decades, Wilson re-mythologizes the Ring, and if we are occasionally reminded of former productions, they are Wieland Wagner's from fifty years ago -- if not Adolphe Appia's utopian theater visions late in the nineteenth century.

For Wilson, the myth is born in the music, emanating from the E-flat of the double basses as the overture begins. The world is created out of rising vapors; the stage grows brighter and more colorful as the music swells, until the Rhinemaidens appear, one at a time, like silhouettes in slow-motion, each in a different, angular pose, arms and hands stretched in wide arcs. As costumed by Frida Parmeggiani and as choreographed by Wilson himself, almost all the performers look like sculptures onstage.

Apart from a huge geometrical form like the hand of a dock moving across the floor, and a dense forest of Japanese-influenced latticework to suggest Nibelheim, Wilson as designer abhors all concrete settings and most props (Wotan carries a slim pointer as his spear). The whole production proceeds like a ritual, with the story elements so completely stylized that in some cases (Freia's ransom, Alberich's transformation and his dalliance with the Rhinemaidens) they are hardly recognizable. Wilson has produced Rheingold as a fairy-tale poem, with figures we have never heard of. Only Loge appears in human garb; one wonders how Parmeggiani will dress the human characters in this Ring.

All the characters ...

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