From around the world: Fairfax, VA. (North America).(Die Walkure)(Opera Review)

Virginia Opera put together a thoughtfully sung, visually engaging production of Die Walkure (believed to be the state's first) to open its twenty-eighth season. At the George Mason University Center for the Arts (Oct. 11), the relative intimacy of the stage area and of the house itself (1,900 seats) helped give the opera an extra immediacy; Lillian Groag's fluid direction and Robert Cothran's lean set designs also emphasized human dimensions. Here, even the gods easily revealed their mortal impulses and flaws.

The cast would not erase memories of golden Wagnerians, but the technical and interpretive level of the singing proved admirable. Making his first attempt at Siegmund, the young tenor Thomas Rolf Truhitte showed signs of vocal fatigue by his final scene, which had some barking and wayward pitch, but most of his music was sung firmly, all of it expressively. Opportunities to soften the voice were taken full advantage of, as in "Wintersturme." More color and roundness of tone would have enhanced the favorable impression, but there was' still no mistaking Truhitte's potential. His arrival onstage was accompanied by silly, animalistic leaps and crouches, which gave Siegmund the appearance of Tarzan encountering civilization for the first time; later, when he licked blood off his wounds, he seemed even more of a jungle boy. The resemblance didn't end there. When the tall, blond tenor's tight, skimpy shirt inevitably came off, he revealed an impressive physique. Not since Peter Hofmann has a Wagner hero been so well type-cast.

It was evident that Jeannine Altmeyer once had all the chops necessary for Sieglinde's music; a sense of authority came through in her singing, despite a rather hollow, occasionally raspy tone. Phrases were imbued with telling points and, when needed, there was plenty of force to slice through the orchestra. The soprano's acting had a quiet dignity. Marc Embree's ...