If being talked about is a measure of success, Berkeley Opera's premiere
of "The Legend of the Ring" is sure to become a monster hit, with many
heated discussions to be held, mostly by people not at the Julia Morgan
Theater tonight.

There are so many points of possible debate (why do it at all, why this
way, why leave this out, why, why, why?) that talk will reverberate for
a long time.  Add to the abstract topics the many surprises that came
from the actual production.

The facts: David Seaman's condensation/reduction/digest/compression
of Wagner's four-opera, 15-hour "Der Ring des Nibelungen" cycle, runs
a bit over three hours, with a single 25-minute intermission between
two acts, the first combining "Das Rheingold" and "Die Walkure," the
second consisting of "Siegfried" and "Gotterdammerung."

The "Ring" requires a 100-plus piece orchestra, and about the same number
of soloists and chorus.  "Legend" uses a handful of principal singers
in multiple roles, no chorus, and an orchestra of 12.

Given the time and orchestra limitations, naturally enough, many "big
numbers" went by the wayside, including - mercifully - the entire " Ride
of the Valkyries."

Right at the beginning tonight, there were two surprises: a splendid
trio of Rhine Maidens (Marie Plette, Christine Springer, Catherine Cook),
and the musicians providing an accompaniment probably not acceptable at
a high school concert.

Surprises further developing: the orchestra vastly improved (instead of
declining) as the evening went on, doing itself proud in "Gotterdammerung,"
under Jonathan Khuner's consistent, unflappable direction.  And, Rhine
Maiden Plette graduating to a fine Freia, a wonderful Sieglinde and
Gutrune, plus a vocal-landmark Forest Bird, and Springer doing a credible
Nilsson imitation as Brunnhilde.

And just how surprising is it to have Roy Stevens sing Froh, and then
Siegmund, and then Siegfried...  and not die a minute before the script
calls for it, in "Gotterdammerung"?

Clifton Romig's Wotan was not quite on the same level as the other
principals, his Gunther was better, although the surprise here was what
a dead ringer he is for Kelsey Grammer of "Frasier."

Jo Vincent Parks did a quick-change artist bit as Alberich and Fasolt,
virtually bumping into himself at times.  Gary Ruschman's brief appearance
as Mime and virtually uncut Loge made a good impression.

Except for a couple of miscalculations, Mark Streshinsky's production
did Berkeley Opera proud, especially with the economical and elegant set
of three large screens, using Jeremy Knight's projected art.

While everything was moving along surprisingly smoothly and well, a minor
hiccup in Streshinsky's direction was putting a black cocktail dress and
a silly, elaborate hat on Platte for her turn as the Forest Bird, and
have her use a cell phone reporting (silently) on Siegfried's slaying
of the dragon, and then - more puzzling - sing her lines into the phone.

And yet, that was nothing in comparison with the other Streshinsky bit,
which drew a round of hisses and boos, and put him in the same class
with Mel Gibson.

Both seem to have trouble with the idea of redemption.  Gibson's
relentlessly gory "Passion" does not allow for the "positive" side of
the Crucifixion, and Streshinsky covers up the Immolation Scene (and its
central theme of redemption) with a bit of Eurotrash.

That controversial term is really justified in Berkeley as the director
has Loge put on flame-red coveralls, wheel in a large trash can, and
clean up the stage, discarding Nothung, the Tarnhelm, and finally - after
some hesitation - the Ring itself.

It seems clear that the production cannot support the original final
scene of the Rhine overflowing and the world going up in flames, but a
garbage disposal scene? Not truly illuminating, one would think, especially
in drawing attention away from some rather nifty music.

Janos Gereben/SF
www.sfcv.org
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