The third part of Daniel Barenboim’s Ring cycle at the Proms proved to be similarly successful to the first two operas of the cycle, leaving both audience and conductor apparently delighted at its conclusion.
The chief justification for “semi-staged” productions such as this is that they encourage greater focus on the music, and particularly on the orchestra. The Staatskapelle Berlin have met this challenge with ease so far, and tonight, where their playing was unfailingly superb, was no different. Two key factors in this are the strong viola and cello sections, seated centrally and capable of luxurious legato and incisive rhythmic clarity, and the beautifully mellow brass section, who give colour to so much of the music. Special mention must go to the tuba player, whose long solos captured every drop of menace in Act I. Siegfried's famous horn call from Act II was played onstage by a guesting Stefan Dohr, principal horn of the Berliner Philharmoniker, who combined supremely confident playing with comic interaction with Siegfried. Barenboim had to drag him to his feet for a large cheer before Act III.
Canadian tenor Lance Ryan, singing the title role, gave a performance which will not suit all tastes. Until the very last scene, in which he wakes Brünnhilde, he was a distinctly dislikeable Siegfried, an arrogant, impetuous pup who earned little sympathy apart from briefly when musing on his mother. His hands-in-pockets, wide-open-collar appearance suggested similar. There were some brilliant moments, notably in his tormenting of Mime and obvious passion in reforging Nothung, and his stamina was unquestionable. The transformation in the last half hour was striking: as well as learning fear from his wife-to-be, he audibly seemed to learn love. His tone lost some of its coarseness, despite still being a little thin at the top of the range, and his final duet with Brünnhilde was suitably ecstatic, the auditorium lights coming up to a warm glow for this final scene.
Nina Stemme, reprising her title role from Die Walküre, was perhaps the catalyst for this change in Siegfried. Her awakening was slow, the intensity of her love taking time to develop and be explained, but once she got going, it was quite understandable that Siegfried should be mellowed. Anna Larsson’s Erda was similarly influential over the Wanderer. Though only a making brief appearance, she gave a pleasingly mystical account of their Act II meeting. Her full, motherly voice is well suited to the role, giving her an air of authority even over the chief of the Gods. Terje Stensvold, the third Wotan of the cycle, was outstanding in a dignified releasing of his grip on power.