[Met Performance] CID:266030



Siegfried
Metropolitan Opera House, Thu, September 24, 1981

Debut : Manfred Jung, Elisabeth Payer




Siegfried (230)
Richard Wagner | Richard Wagner
Siegfried
Manfred Jung [Debut]

Brünnhilde
Elisabeth Payer [Debut]

Wanderer
Donald McIntyre [Acts I, II]

Wanderer
Franz Ferdinand Nentwig [Act III]

Erda
Jocelyne Taillon

Mime
Heinz Zednik

Alberich
Franz Mazura

Fafner
Aage Haugland

Forest Bird
Gwendolyn Bradley

Set & Projection Designer
Günther Schneider-Siemssen


Conductor
Erich Leinsdorf


Director
Herbert Von Karajan

Costume Designer
George Wakhevitch

Lighting Designer
Gil Wechsler

Stage Director
Wolfgang Weber





Siegfried received six performances this season.
McIntyre cancelled after Act II and was replaced as the Wanderer by Nentwig.

Review 1:

Review of Peter Goodman in Newsday

The champagne of 'Siegfried'

The program notes didn't indicate what Erich Leinsdorf said to his musicians and singers this week, but it must have been - ahem - bracing. For the difference between Tuesday's "Das Rheingold" at the Metropolitan Opera and Thursday's "Siegfried" was the difference

between tap water and champagne.

The Met, unable to schedule Wagner's complete four-work "Ring" cycle this season, is offering the first and third operas. "Das Rheingold" was an acceptable performance with some miscasting. "Siegfried" began at a higher level and finished with something close to magic. There have probably been better "Siegfrieds," but this one will most certainly do until another comes along.

In "Siegfried," the young hero who knows no fear reforges his father's sword, slays the dragon Fafner and then slays the dwarf Mime, who has been trying to poison him. Siegfried meets the Wanderer, who is actually the god Wotan and the hero's own grandfather. Siegfried shatters the Wanderer's spear - thus destroying the god's power - and goes to awaken Brünnhilde, who has been sleeping under Wotan's spell. As the opera ends, Brünnhilde and Siegfried are deeply and passionately in love.

That scant outline doesn't say anything of Wotan's initial crimes, consequences of which occupy the entire cycle, Erda the earth goddess. Wotan's plan to redeem himself, the dwarf Alberich and the other themes Wagner wove into his enormous musical myth. But it is.

the music that is most important, not the romantic German philosophizing.

Manfred Jung as Siegfried, and Elisabeth Payer as Briinnhilde were both making their Met debuts, in two of the hardest and most important roles in opera. Jung does not yet have all the power a true Siegfried needs, but he fulfills the other requirements. His voice was rich, warm and flexible, he had no problems reaching all the notes and, best of all, he moved well and believably, both as the impetuous, slightly bullying boy of Act I and the love-stricken swain of Act III.

Payer was a superb Brünnhilde. Her upper register glowed effortlessly, filling the house with smooth, even musical sound. She and Jung worked excellently together, and Jung had enough power in reserve to almost keep up with her vocally.

Heinz Zednik (Mime), Franz Mazura (Alberich) and Aage Haugland (Fafner) were the only holdovers from "Das Rheingold." Zednik's Mime was marvelous - nasty, hungry, scheming, stupid. He and Jung played most of Act I like a domestic drama between two people who have lived together too long. Mazura's Alberich was a dangerous insect. There have been deeper Fafners, but Haugland sounded fearsome enough - and it was a good thing the dragon was only make-believe.

Jocelyne Taillon was a deep, vibrant, powerful Erda who also demonstrated a very strong upper register. Donald McIntyre sang the Wanderer for two acts, but withdrew because of throat problems and was replaced by Franz-Ferdinand Nentwig.

Leinsdorf worked wonders in the pit. The orchestra sounded tight, rich and alive. The brasses were rumblingly powerful, the strings clean and pure. "Siegfried" is a tremendous work - it began at 7 PM and finished at 11:55 - but this listener was more awake at the end than the beginning.



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