News
Sports
ENLARGE
Bringing Richard Wagner's epic “Ring Cycle” to its cataclysmic ending, the Metropolitan Opera's new production of “Götterdämmerung” (“The Twilight of the Gods”) will be broadcast live via HD transmission at 10 a.m. Saturday in the Eileen & Paul Finkel Auditorium at Colorado Mountain College in Breckenridge, and at the Skyline Movie Theater in Dillon.
Heralded as the most theatrically effective staging of the four works in this epic “Ring Cycle” series, the clearest representation of the director Robert Lepage's vision has been realized. Although the staging to some degree has been simplified, Carl Fillion's 45-ton set, called the “machine,” is a huge assembly of 24 planks in conjunction with video projections. It will again serve to capture background stage props, including rivers, mountain cliffs and forest dwellings.
The opera opens on the rock of the Valkyries where three Norns spin the rope of Fate, in which they predict the end of the gods. The scene then turns to the dawning of a new day, where Siegfried and his bride, Brünnhilde, emerge. As his testament of love, Siegfried gives Brünnhilde the magic ring, as they passionately bid farewell and he sets off on his “Rhine Journey,” so vividly portrayed in the music.
The curse of the ring, as inflicted by Alberich in the opening Rhinegold opera, takes full effect during the following scenes. Siegfried, upon arrival at the Gibichung castle, meets Lord Gunter, sister Getrune, and sinister half-brother Hagen, who have been plotting how to acquire the magic ring. Drinking a potion, Siegfried forgets the immediate past, and under the guise of the new husband Gunter, revisits Brunnhilde and steals the ring from her finger. He refuses to release it to the Rhinemaidens upon his return to the banks of the river Rhine. Siegfried then joins in Hagen's meeting of the vassals to welcome the king and his new bride. Upon arrival, Brunnhilde recognizes the ring on Siegfried's finger, expressing deep disdain for his betrayal.
Shortly thereafter, Hagan inflicts a fatal thrust of his spear into Siegfried's back. In the end, Brunnhilde learns of the sinister plot, takes the ring off the dead Siegfried's finger, and mounts her horse, riding with one last vocal outburst into the allegorical flames of the burning castle of the gods, Valhalle. She throws the ring to the Rhinemaidens in the river, who then succeeds in killing Hagen, who jumps in the river to attempt its theft.
Thus living through fate and treachery, the lovers Siegfried and Brunnhilde, sung by heldentenor Jay Hunter Morris and highly acclaimed soprano Debodrah Voigt, reunite to redeem the human world. The vocal excellence of all the singers, the leitmotivs and orchestral renditions of several major themes, such as Siegfried's Rhine Journey, his ending Funeral March, and the men's chorus in the third act — all under the music articulation and mastery of conductor Fabio Luisi — serve very well to hold the attention of all those attending through the over five hours of stage action and musical drama.
Heralded as the most theatrically effective staging of the four works in this epic “Ring Cycle” series, the clearest representation of the director Robert Lepage's vision has been realized. Although the staging to some degree has been simplified, Carl Fillion's 45-ton set, called the “machine,” is a huge assembly of 24 planks in conjunction with video projections. It will again serve to capture background stage props, including rivers, mountain cliffs and forest dwellings.
The opera opens on the rock of the Valkyries where three Norns spin the rope of Fate, in which they predict the end of the gods. The scene then turns to the dawning of a new day, where Siegfried and his bride, Brünnhilde, emerge. As his testament of love, Siegfried gives Brünnhilde the magic ring, as they passionately bid farewell and he sets off on his “Rhine Journey,” so vividly portrayed in the music.
The curse of the ring, as inflicted by Alberich in the opening Rhinegold opera, takes full effect during the following scenes. Siegfried, upon arrival at the Gibichung castle, meets Lord Gunter, sister Getrune, and sinister half-brother Hagen, who have been plotting how to acquire the magic ring. Drinking a potion, Siegfried forgets the immediate past, and under the guise of the new husband Gunter, revisits Brunnhilde and steals the ring from her finger. He refuses to release it to the Rhinemaidens upon his return to the banks of the river Rhine. Siegfried then joins in Hagen's meeting of the vassals to welcome the king and his new bride. Upon arrival, Brunnhilde recognizes the ring on Siegfried's finger, expressing deep disdain for his betrayal.
Shortly thereafter, Hagan inflicts a fatal thrust of his spear into Siegfried's back. In the end, Brunnhilde learns of the sinister plot, takes the ring off the dead Siegfried's finger, and mounts her horse, riding with one last vocal outburst into the allegorical flames of the burning castle of the gods, Valhalle. She throws the ring to the Rhinemaidens in the river, who then succeeds in killing Hagen, who jumps in the river to attempt its theft.
Thus living through fate and treachery, the lovers Siegfried and Brunnhilde, sung by heldentenor Jay Hunter Morris and highly acclaimed soprano Debodrah Voigt, reunite to redeem the human world. The vocal excellence of all the singers, the leitmotivs and orchestral renditions of several major themes, such as Siegfried's Rhine Journey, his ending Funeral March, and the men's chorus in the third act — all under the music articulation and mastery of conductor Fabio Luisi — serve very well to hold the attention of all those attending through the over five hours of stage action and musical drama.
