Das Rheingold in Barcelona...singing Wagner
April/19/2013
I’ll ever figure that one out--it’s just the way it’s been.
The Ring is the first Wagner I ever encountered way back in 1979 as a young student at Millikin University. The power of these stories and the magnificence of the music struck very strong chords in my heart and mind. It would be many years until I took any of the roles on for myself. I first sang Donner in “Das Rheingold” at The Metropolitan Opera. What an experience that was to sing with some of the great Wagnerians and to have my moment amidst the thunder clouds singing “Heda, Hedo”. That production, perhaps the last “traditional” Ring, was recorded and presented on PBS in 1990. Around that time, I was asked to look at the “Rheingold” Wotan for the first time for a new Ring in Brussels, Belgium. The Ring was to be divided amongst three different Wotans. As the “Rheingold” Wotan is not nearly as difficult as the other two, I decided to take on the project---at the tender age of just 31. Perhaps this was a bit soon--maybe not. All I know is that I was musically prepared but perhaps not near as mature as I wanted to be. It all came together just fine--but I knew that I shouldn’t be singing the role too often at that point. I needed more time and seasoning. I didn’t sing the other two Wotans for nearly another 8 years.
I started singing other smallish Wagner roles including MANY times the role of Gunther in “Götterdämmerung”. This helped me to become more and more immersed in the Ring saga. I started becoming not just a singer of this repertoire but a HUGE fan of these music dramas as well. In 1994, my second crack as the “Rheingold” Wotan came in Frankfurt, Germany. It was the same production that I had sung in Brussels and so I was at least familiar with that. What was incredible to me, however, was how different the role felt in my voice. It was FAR easier than just three years earlier. This speaks to exactly what we as singers must learn---be patient and let your body and voice grow into this repertoire. Although other smaller Wagner roles had come into my repertoire, they were only stepping stones to the bigger guys like Amfortas, Kurwenal, The Dutchman, and Hans Sachs (not to mention, the two older Wotans). I was also fortunate to be the understudy MANY times for one of the truly great Wotans of all time, James Morris. And, while singing Donner in performances in New York, Chicago, and Munich, Jim was THE Wotan who I could observe from a VERY close distance. Oh, what I have learned from Jim. I’m very grateful!!!
In 2001, just days after 9-11, I was scheduled for my debut with the Vienna State Opera as Wotan in “Rheingold”. It was not clear as to whether I would be able to fly out of the USA to get to Austria. As the days passed following the horrific events of that Tuesday, flights remained grounded and certainly international flights were not leaving the States. Finally, on the Friday following 9-11, it looked like I could fly the next day and make my way to Europe. It was a scary time for us all, to be sure. When I got to Vienna, another short rehearsal period, although a day or two longer than what I’ve faced in Barcelona, awaited. What I most remember about that engagement, however, was having the curtain rise for my first big scene and seeing the GREAT Vienna Philharmonic in the pit, playing their instruments, and string players looking up to the stage seemingly with the look in their eye of “Let’s see what you got, kid”. Okay, that could all just be in my mind--but it sure seemed very real. It was a very intimidating experience but it all went well and I had a great debut in one of opera’s most important houses.
Those performances in Vienna were the last performances I’ve given of this role until now. There was a lot of emotion involved then with the situation back in the States. And, as I write this, there is much anxiety and stress at home again with the bombing in Boston this past Monday during the marathon and the manhunt underway. But music helps to heal. Music helps to lift. Music is a great gift. I know all too well the looks on an audience’s face during times of national mourning (I sang a performance on “Les Contes d’Hoffmann” on September 12, 2001 at The Kennedy Center which is within view of the Pentagon). I rejoice that we can work through these horrible times and keep going. And, if music helps folks with that, it’s even more of a reason to support beauty and the arts. I’m happy to bring an old friend back to the stage here in Barcelona over the next week or so. He’s been with me on a long journey and through some tough times on many levels. I just hope that the next time I sing this role, there isn’t so much anxiety and angst to sing through. On second thought, the Wotan of “Das Rheingold” sings, in his aria near the end of the opera, about living through troubles and angst. Once again, life imitates art. Bring on an abundance of both.
The Ring is the first Wagner I ever encountered way back in 1979 as a young student at Millikin University. The power of these stories and the magnificence of the music struck very strong chords in my heart and mind. It would be many years until I took any of the roles on for myself. I first sang Donner in “Das Rheingold” at The Metropolitan Opera. What an experience that was to sing with some of the great Wagnerians and to have my moment amidst the thunder clouds singing “Heda, Hedo”. That production, perhaps the last “traditional” Ring, was recorded and presented on PBS in 1990. Around that time, I was asked to look at the “Rheingold” Wotan for the first time for a new Ring in Brussels, Belgium. The Ring was to be divided amongst three different Wotans. As the “Rheingold” Wotan is not nearly as difficult as the other two, I decided to take on the project---at the tender age of just 31. Perhaps this was a bit soon--maybe not. All I know is that I was musically prepared but perhaps not near as mature as I wanted to be. It all came together just fine--but I knew that I shouldn’t be singing the role too often at that point. I needed more time and seasoning. I didn’t sing the other two Wotans for nearly another 8 years.
I started singing other smallish Wagner roles including MANY times the role of Gunther in “Götterdämmerung”. This helped me to become more and more immersed in the Ring saga. I started becoming not just a singer of this repertoire but a HUGE fan of these music dramas as well. In 1994, my second crack as the “Rheingold” Wotan came in Frankfurt, Germany. It was the same production that I had sung in Brussels and so I was at least familiar with that. What was incredible to me, however, was how different the role felt in my voice. It was FAR easier than just three years earlier. This speaks to exactly what we as singers must learn---be patient and let your body and voice grow into this repertoire. Although other smaller Wagner roles had come into my repertoire, they were only stepping stones to the bigger guys like Amfortas, Kurwenal, The Dutchman, and Hans Sachs (not to mention, the two older Wotans). I was also fortunate to be the understudy MANY times for one of the truly great Wotans of all time, James Morris. And, while singing Donner in performances in New York, Chicago, and Munich, Jim was THE Wotan who I could observe from a VERY close distance. Oh, what I have learned from Jim. I’m very grateful!!!
In 2001, just days after 9-11, I was scheduled for my debut with the Vienna State Opera as Wotan in “Rheingold”. It was not clear as to whether I would be able to fly out of the USA to get to Austria. As the days passed following the horrific events of that Tuesday, flights remained grounded and certainly international flights were not leaving the States. Finally, on the Friday following 9-11, it looked like I could fly the next day and make my way to Europe. It was a scary time for us all, to be sure. When I got to Vienna, another short rehearsal period, although a day or two longer than what I’ve faced in Barcelona, awaited. What I most remember about that engagement, however, was having the curtain rise for my first big scene and seeing the GREAT Vienna Philharmonic in the pit, playing their instruments, and string players looking up to the stage seemingly with the look in their eye of “Let’s see what you got, kid”. Okay, that could all just be in my mind--but it sure seemed very real. It was a very intimidating experience but it all went well and I had a great debut in one of opera’s most important houses.
Those performances in Vienna were the last performances I’ve given of this role until now. There was a lot of emotion involved then with the situation back in the States. And, as I write this, there is much anxiety and stress at home again with the bombing in Boston this past Monday during the marathon and the manhunt underway. But music helps to heal. Music helps to lift. Music is a great gift. I know all too well the looks on an audience’s face during times of national mourning (I sang a performance on “Les Contes d’Hoffmann” on September 12, 2001 at The Kennedy Center which is within view of the Pentagon). I rejoice that we can work through these horrible times and keep going. And, if music helps folks with that, it’s even more of a reason to support beauty and the arts. I’m happy to bring an old friend back to the stage here in Barcelona over the next week or so. He’s been with me on a long journey and through some tough times on many levels. I just hope that the next time I sing this role, there isn’t so much anxiety and angst to sing through. On second thought, the Wotan of “Das Rheingold” sings, in his aria near the end of the opera, about living through troubles and angst. Once again, life imitates art. Bring on an abundance of both.