This 2011 production of Die Walküre comes from Robert Lepage’s production of the Met Opera’s first complete Ring cycle in 20 years, with its notorious multi-million dollar “machine” – a set consisting of 24 independently moving platforms, with additional video projections, that could be raised or lowered to form different scenes. Although the machine caused several mishaps during the production run, and reviewers complained about its noise, none of these flaws are evident on the filmed version and visually it is stunning in places – becoming a tangled forest, a rolling bed of lava, and even the graceful flapping wings of Brünnhilde’s horse. Other complaints about the production were that the machine limited the movement of the singers, resulting in very static staging, that the singers were obviously nervous about it, and that Siegmund and Sieglinde spent most of the first act standing a couple of feet below the apron. These aspects also become less problematic on film, were plenty of camera close-ups and changes of view add variety, although the Act I staging does still look a little odd and there are still one or two nervous wobbles to be seen as the singers navigate the machine.
The small cast is made up of experienced Wagner singers and some newcomers. Jonas Kaufmann smoulders his way through the role of Siegmund, with warm, honeyed singing with musical passion to match his looks – it didn’t matter that his acting was a little wooden. Eva Maria Westbroek making her Met debut as Sieglinde is beautifully well-matched to Kaufmann, and with them both kitted out with luxuriant pre-Raphaelite hair, it’s easy to believe that they’re twins. Ms Westbroek allows Sieglinde’s character to grow, from put-upon bullied housewife, girlishly eager to please her handsome guest, to the serene purity of the idealised mother-figure, the woman who will bear the great saviour.