Dando o devido desconto à qualidade do som, o Siegmund de Jonas Kaufmann na estreia soou assim:
Quem estiver interessado pode ler a crítica de Anthony Tommasini (The New York Times), que diz, entre outras coisas, isto:
But a problematic staging touch came at the opening of Act II. Here the planks jutted out to evoke the “wild rocky place” that Wagner calls for. Wotan, the bass-baritone Bryn Terfel, came bounding onto the beams, now horizontal, which were alive with images of rocky terrain. Then his rambunctious daughter Brünnhilde, the soprano Deborah Voigt, appeared. As Ms. Voigt started to climb the planks that evoke the hillside, she lost her footing and slid to the floor.
(...)
The problem here was not just that in this crucial dramatic moment, with Ms. Voigt about to sing the first line of her first Brünnhilde, Mr. Lepage saddled her with a precarious stage maneuver. The problem was that for the rest of the scene, whenever Wotan or Brünnhilde walked atop the set, the beams wobbled and creaked. At times Mr. Terfel, a big, strong man, had to extend his arms to balance himself. No imagery is worth having to endure the sounds of creaking gears and looks of nervousness on the faces of singers.
Pergunto: O Senhor Lepage concebeu a máquina (the machine - assim é conhecida a estrutura cénica de quarenta e cinco toneladas e não sei quantos milhões de dólares) para cantores líricos ou para equilibristas do Cirque du Soleil?
Pode ouvir aqui a entrada de Brünnhilde (Deborah Voigt com Bryn Terfel).
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| "Die Walküre" at the Met |
Esta foto foi enviada por um simpático leitor que a fez acompanhar do seguinte texto:
Caro Valkirio,Ofereço esta foto para o que puder servir... grato pelo prazer de ler o seu blog.Bosc d'Anjou
Caro Bosc d'Anjou, grato fico eu. Pela foto, que acabou de ter serventia, e por o ter a si como leitor.
