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Siegfried
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Genre | Romance |
Format | NTSC, Import, Classical |
Contributor | Boulez, Pierre |
Language | English |
Product Description
The legendary Bayreuth Centenary production of Wagner's Ring is distinguished by Patrice Chéreau's once-shocking production, which has acquired the status of the most trenchant modern interpretation of the cycle. Siegfried is the third of the four Ring operas, introducing the hero, Siegfried, son of the demi-gods Siegmund and Sieglinde. Though raised by the dwarf Mime, Siegfried discovers his true identity and forges the magic sword, Notung, with which he slays Mime and the dragon Fafner. He then defies the Wanderer (Wotan in disguise) and rescues the sleeping Brünnhilde from her circle of flames. The opera ends with their radiant love duet. Pierre Boulez's penetrating interpretation supports a cast led by the powerful Siegfried of Manfred Jung. Cast:
Hermann Becht: Alberich
Fritz Hübner: Fafner
Gwyneth Jones: Brünnhilde
Manfred Jung: Siegfried
Donald McIntyre: Der Wanderer
Norma Sharp: Waldvogel
Ortrun Wenkel: Erda
Heinz Zednik: Mime
The Bayreuth Festival Orchestra conducted by Pierre Boulez
Product details
- Aspect Ratio : 1.33:1
- MPAA rating : NR (Not Rated)
- Product Dimensions : 9 x 5.5 x 0.53 inches; 5.6 Ounces
- Media Format : NTSC, Import, Classical
- Release date : October 30, 2001
- Actors : Boulez, Pierre
- Subtitles: : French, English
- Language : German (Dolby Digital 5.1), German (PCM Stereo)
- Studio : Imports
- ASIN : B00005OATO
- Number of discs : 1
- Best Sellers Rank: #300,800 in Movies & TV (See Top 100 in Movies & TV)
- #10,752 in Romance (Movies & TV)
- #20,785 in Opera & Vocal (CDs & Vinyl)
- #68,184 in Classical (CDs & Vinyl)
- Customer Reviews:
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The first thing which must be said is that the sound quality is excellent. The film production is also good and does not have the problem that some opera DVD's have of being transferred from VHS to DVD.
The general critical response to this version of the ring cycle has been posative with most of the barbs going to the singing of the role of Siegfried, something of no relevance to this DVD.
The fist DVD of this production I saw was that of Gotterdammerung which was a bit of a shock. Brunnhilde was played by someone far to old (although it was the first woman Siegried saw, he probably wasn't that choosy) and the chorus dressed in French working men's costumes was a shock.
However by this DVD somehow you forget it and if the opening scene is a large hydro dam instead of the Rhine and the Rhinemadens are dressed as prostitutes you don't seem to notice as much. the Gotterdammerung is a reasonably static opera. Probably as the first hour drags into the fourth you have a lot of time to look at people dressed as bank clerks and you have problems suspending disbelief. With this production, its all happeing with Gods and Giants striding the stage and people descending into the underworld the action keeps up. For that reason one forgets that Wotan is wearing a smoking jacket and that the trick about the Rhinemaidens was that they were maidens.
Anyway this retailed where I come from cheaply and it was great value. The quality and timber of the orchestral playing is superb. The signing good and the, I suppose you call it acting okay.
operas. To me, it is the most fairy tale-like, the most full of
nature and nature imagery, has the most interesting characters, the
most fascinating confrontations and also the most sublime love scene
in all opera. It is a coming-of-age story, full of Freudian intuition
on Wagner's part, and its symbolism is universal...the depth of the
libretto alone and the mental stimuli it provides are enough to give
a lifetime of study and enjoyment. Add to all this the sublime,
rapturous music and its thread of subliminal subconcious thought and
you have one whale of a work of art. IN LOVE with Siegfried, I
decided that I had to have the Bayreuth Siegfried of 1980... So, disregarding the mostly negative reviews that
customers on Amazon had written about this production, I ordered it.
It arrived yesterday. With heart pounding, I tore the wrapping off
and plugged it into my DVD player with trembling fingers. I settled
in, with my cat on my lap and a cup of hot Earl Grey nearby, ready
for an uninterrupted evening of my favorite opera. I lasted two acts.
What can I say other than that I was grossly disappointed? The
sets were unusual, to say the least, but this was ok. In fact, they
were fascinating and I got to see how Wagner "works" for a specific
age as well as universally. As a whole, the vocal quality was
entirely passable, even good at times, the orchestra was a little
under-volume but otherwise balanced and completely presentable, and
the sets, though dark, were visually beautiful. Even the dragon was
not as laughable as I had been prepared to see. Heinz Zednick, as in
the Met version, was fantastic as Mime...in fact, he outdid himself
both vocally and dramatically and stole the show, for me. The guy
who sang Fafner was excellent, and Donald McIntyre and Manfred Jung
seemed to be in good voice for the performance, and were dramatically
into their roles. In fact, the acting as a whole was superb. Except
for some slightly distressing rushing on Jung's part at the end of
Act 2, there was good synchronization between the orchestra and
singers. All in all, it was excellently sung and acted, the orchestra
was in good form, the sets were visually interesting and it was a
perfectly good professionally-rendered presentation of Siegfried.
But----there was one thing wrong with this performance that
spoiled it for me, and that was Jung's characterization of Siegfried. Siegfried, at best, is hard to like. But knowing that
he is the hero of the whole tetralogy, we TRY to like him, even
though Wagner does not make it easy for us to. There is a subtle way
the tenor can help us out, despite the sometimes hateful language and
actions of Siegfried, and make us regard him with more sympathy and
give him a lot of slack. Jerusalem did it in the Met production---
played Siegfried as an innocent who knew no better than the ways of
the forest, and who showed remorse when he had to kill both Fafner
and Mime. And he did his best to interject a boyish charm to the
role, and came across as utterly believable, human and likeable. Jung,
on the other hand, seemed to actually play up the coarse and brutish
aspects of Siegfried. I could easily imagine him pulling the wings
off insects and torturing the bears and the birds of the forest. He
not only cleaved the anvil, but wielded Notung as if he were a
character in The Texas Chainsaw Massacre, smashing the sword down
again and again and again. Aside from the constant and brutal abuse
of Mime, he kicked Fafner's dead body, kicked and shook the tree in
impatience to hear the bird's song, and in short acted like an
enraged and rabid animal. The most chilling thing he did, though,
was to walk close to the dying Fafner, unconcerned and uncaring, only
curious about his own past. I'm sure this was calculated only to
show that he indeed had no fear, but to me, the way it was done was
most disturbing. He was almost intimate with Fafner, putting his
hand on the giant, almost as if in possession of him, but totally
indifferent and cold to his suffering, and Fafner with Notung stuck
in his chest with the blood running down....then when Fafner died and
Siegfried killed Mime and hung him on the tree, my blood was chilled
anew when Siegfried started singing the lyrical, longing music set to
the Forest Murmers....all with the two dead bodies in evidence a few
feet away. The incongrousness of this was jarring and a little
revolting. I found myself grieving for Mime in this production...and
so wishing that there had been a sudden plot change and Siegfried had
drunk Mime's potion! As it is, I am dreading Act 3, and don't know
if I want to see this sociopath wake Brunnhilde or not (let me
guess...he shakes her and kicks her)....much less see the final
portion, which I'm sure will be more like a rape scene than anything
else.
Why did Jung have to play Siegfried like a Nazi? I thought we
were trying to get away from that sad and inappropriate connection
anyway....this production does not help the cause one little bit.
I give this production three stars because it has its merits, but is totally lacking in garnering any sympathy for its main character.
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