With this Götterdämmerung, Longborough Festival Opera adds the final part to its new Ring cycle, the third over the last 25 years. Longborough enjoys a high reputation for its Wagner productions, and this latest addition should reinforce its role as, in the words of The Times, “the Bayreuth of the Cotswolds”. No need then for LFO to echo the anxious enquiry of Gunther that opens Act 1, “How stands my fame on the Rhine?”, effectively launching his family’s tragedy.
Amy Lane’s stage direction is effective, not least in directing the interactions between characters, which in this work loom larger than the long soliloquies of the two previous operas in the tetralogy. The stage design of Rhiannon Newman Brown, costumes of Emma Ryott, lighting of Charlie Morgan Jones and the video projections of Tim Baxter combine to offer a vision of a natural world inhabited by a wide range of creatures, prescient Norns, lamenting Rhinemaidens, Valkyries past and present, evil dwarves, humans and horses, coming into conflict on a set consisting of just two three-stepped platforms left and right.
The lighting is predominantly subdued in this dark drama, but the dazzling blaze of fiery light at the close is the more effective thereby. The video projections suggest key elements – sky, water, fire, gold – becoming more turbulent whenever the emotional temperature rises. The Norns’ and Rhinemaidens’ elegant period gowns shimmered, but most costumes are quasi-contemporary, with a fondness for overcoats and rainwear, the vassals uniformly dressed in trench coats. This outerwear also serves as dramatic props, from Waltraute flinging Wotan’s coat at Brünnhilde, to the vassals using those raincoats as an improvised shroud for the fallen Siegfried. Gunther is a status-obsessed bourgeois, neatly suited in tweed, waistcoat and all. On their departure, the Norns donate an almanac, containing perhaps what must come to pass, and various such volumes are consulted by the characters.
If I could reverse one production decision, it would be at the very end of Act 2 – an act often considered Wagner’s finest as sheer drama, with its shattering conflict between bewildered lovers and its tremendous vengeance trio, malevolent puppet-master Hagen pulling the strings. To close Act 2, Wagner requires one more twist of the knife, when five pages before its end his score directs, in some detail, that Siegfried’s nuptial procession enters, to joyous music. The irony of this happy group intruding upon the plot to murder the bridegroom is for one commentator “a stroke of dramatic pathos with no superior in opera… a moment of moments”. Here it is simply omitted, even from the programme’s synopsis. Hagen is left alone on stage wondering why the orchestra has embarked upon its celebratory din.