The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.
We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.
San Francisco Opera's Die Walküre overcame a disappointing first act, winning the audience over with excellent singing and playing and impressive stage effects.
Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of Die Walküre.
David Pountney's new production of Die Walkürefor the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.
Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.
On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.
Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.
Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.
In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”
Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.
The second opera of the Ring Cycle in Vienna brought the best out of the orchestra and singers with a sweeping and breath taking reading of the score by Sir Simon Rattle.
Some beautiful singing from Michael Bedjai as Siegmund and Brit-Tone Müller as Sieglinde set a high standard in this Landestheater Linz production of Richard Wagner’s Die Walküre.
All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.
An impressive Die Walküre with a trio of first act singers that would be hard to better. Throughout, clarity of diction is allied to clarity of the orchestral reading.
Putting on a Ring cycle is normally considered a major undertaking for any opera company. For a mid-sized provincial opera company, the idea of staging the whole cycle in a weekend seems barely short of insane. But that’s what Opéra de Dijon are doing – Das Rheingold and Die Walküre last night, Siegfried and Götterdämmerung tonight, and it just had to be seen.
After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed. Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers.
Dipping my toes into the murky waters of the Wagner-fest at the Proms this year for the first time, I found myself confronted with the monumental second installment of the Ring cycle, Die Walküre.
In last night’s performance of Die Walküre at the Met, Martina Serafin as Sieglinde and Simon O’Neill as Siegmund drew us completely into the process of two people falling into illicit love.
If you've been brought up with the Judaeo-Christian ideal of an all-powerful, all-good God, Norse mythology can come as a bit of a shock. Wotan, the father of the gods, is philandering, deceitful, power-hungry, sentimental, violent and ultimately weak - the gamut of human frailties writ large.
Opera North’s concert staging of Wagner’s Ring Cycle continued last night with Die Walküre, the “first night” proper of the cycle after the “preliminary evening” of Das Rheingold.
For any opera company to mount a Wagner opera is a great undertaking. For a very small semi-professional opera company to mount the entire Ring cycle is a feat of extraordinary daring and perhaps madness. But that is exactly what Fulham Opera has decided to do.
The Hallé Orchestra, led by Sir Mark Elder, followed their award-winning 2009 Götterdämmerung with a concert performance of Die Walküre over two nights, prefaced by Gerard McBurney’s new work, The Madness of an Extraordinary Plan. With an array of famed soloists, Elder masterminded a triumph, with the magnificent Hallé showing their quality on the concert stage.
Wagner's Die Walküre was split into two concert performances over two days, the first on one evening and the second on an afternoon and an evening. This review is for both. A spot picks out a man in the Bridgewater Hall’s front row, who steps up to stand by a table in front of the Hallé Orchestra, which is ready to begin. He puts on a braided coat to become Richard Wagner.
Pour le premier opéra 2018 et la reprise de la saison lyrique, la première des quatre journées du cycle lyrique du compositeur Richard Wagner marquait son grand retour sur la scène toulousaine dans sa production d’avril 1999.
Die Bayerische Staatsoper hat den zweiten Teil des Ring-Zyklus mit exzellenter Besetzung unter der Leitung von Kirill Petrenko wahrlich meisterlich zurück auf die Münchner Bühne gebracht.
Mit einer musikalisch gradiosen Aufführung der Walküre und prägnant-wirkungsvollen Projektionen wurde in Budapest der Ring-Zyklus von Adam Fischer fortgesetzt.
