In review: from around the world: Washington, DC.(North America ... Die Walkure)

From the moment the orchestra started churning over the anxious opening music to the finale's luminous sound-bath of magic, majesty and mystery, nearly five hours later, Washington Opera's performance of Wagner's Die Walkure cast an unbreakable spell (heard Nov. 11). That spell held firm even after a lengthy post-Act II intermission, while the company scrambled to replace soprano Linda Watson, as Brunnhilde, who injured her leg just as she made her first entrance. She carried on, and except for some strain in her battle cry, she sang with a good deal of style and power as she moved very gingerly about the stage. After Act II, however, a doctor advised Watson to abandon the performance. Her cover, Caroline Thomas, slated to go on as Helmwige, switched gears effortlessly to become a persuasive Brunnhilde for Act III, producing silvery tone and such intense phrasing that it was hard to remember she hadn't been performing the role all along. Maria Jooste, a member of the company's Domingo-Cafritz Young Artists Program, gamely sang Helmwige, while standing on the side of the stage dressed in street clothes. She let loose a take-notice soprano with all cylinders firing.

Placido Domingo summoned more sound than Wagnerians half his age and made much of the music's lyricism. A few cloudy low notes and a not-quite-there high one at the end of Act I mattered little in light of all that vintage Domingo warmth. As Sieglinde, Anja Kampe served notice of a major star in the making. With particularly fabulous middle and low registers (the top was somewhat constricted but still effective), the soprano's singing enveloped the hall. Superbly detailed acting--this Sieglinde's sly glances to Siegmund in Act I spoke volumes--completed the extraordinary performance. Elena Zaremba nearly stole the show as Fricka with marvelously secure, ...