Regent's Opera presents a smart production of Der Ring des Nibelungen. It is not visually sublime, but conceptually rich. Der Ring des Nibelungen is the first of a four-opera cycle that unfolds across generations weaving the themes of power, greed and fate amongst gods and mythical beings.
Caroline Staunton's note on the production points to Wagner's idea of Gesamtkunstwerk, which means 'total work of art' in German. The principle for Wagner is in the "principle of elevation: the fusion of artistic elements makes possible the encounter with the sublime". Staunton's production executes this idea impressively. The minimalistically curated stage looks like an art gallery, and lighting is perfectly harmonised with the emotions and the plot. Braeckel's costumes are vogue and effective. There is a perfect sense of an 'artwork.' We see the word painted also on Alberich's back, which makes sense. There's no other character than Alberich to truly embrace the idea in his complete absorption and exhaustion of lust and greed.
Musically, Ben Woodward has the right scale and tune throughout with just 22 instruments playing as an orchestra. The string section could have delivered more delicate balance to the melody, but the overall sound has depth and lusciousness to it. The entire cast showed incredible vocal stamina throughout the performance. There are no weak links. Notably, Oliver Gibbs in Alberich brings considerable force and might which makes the greedy character very palpable. The spotlight is inarguably on James Schouten in Loge, who is often performed with lighter expression. Schouten's Loge is more nonchalant and humorous than usual but is well suited to the production. Loge's dispassionate and light-hearted view in an incredibly complicated plot (which Wagner presents in a very serious way ) is probably something that modern audience can resonate with. Calvin Lee's short but mind-blowing performance as Froh leaves the heart desiring for next.
The production is careful not to reproduce or reject its precedents. There is modern humour but also the continued idea of epic tale. Above all, though, it will leave you convinced to sit through the next hours of the rest of the four cycles.
Cycle 2 - 23 Feb to 2 March at York Hall in Bethnal Green
Review: Sam Lee