Seattle’s ‘Ring’ in English Is Nicht Gut

LAST SATURDAY. Saw the completion of the Seattle‐Opera’s “Ring” cycle m German, and last night saw the beginning of the Wagner tetralogy in English, in the Andrew Porter translation. Opera in English is a permanent feature of the Seattle Opera. During the regular season, operas are given in the original language and followed by an equal number of performances in translation.

The idea, of course, is to make opera “intelligible” to a local audience; who now presumably wiii be able to understand what is happening on stage.

But it seldom works out that way. Very few opera singers seem to have the ability to sing with clear diction. At last night’s “The Rhinegold,” there were a few singers who did.make sense, notably Marvellee Cariaga as Fricka. Most of the others might as well have sung in Esperanto for all the good it clid. Fortunately, the program book of the Pacific Northwest Festival supplies detailed synopses of each of the operas. A spot check of the audience indicated that nearly everybody was relying on the synopsis of “The Rhinegold” rather than on the words coming off the stage.

There was an interesting box office commentary on the situation. The German circle was completely sold out. Last night there plenty of vacant seats for Wagner in English. can it he that Glynn Reiss, the director, of the Seattle Opera, is chasing a wrong idea to its illogical conclusion?

In England, the Porter translation of the “Ring” is in the active repertory of the English National Opera. But in the United States one seldom’ has chance.to sample the dubious delights of :Wagner in the vernacular. Only in Seattle is there the opportunity. As for the Porter translation itself, it is clear and direct and the singers here have highly praised it. They occasionally make a few minor word substitutions on vowels that are easier to sing. However, they removed the rhythms of the translation that coincided precisely with the composer’s own text.

Hearing the “Ring” this way is curious experience. The music sounds different. For one thing, Mr. Porter has not attempted to duplicate Wagner’s incessant alliteration, which means that at least one basic Wagnerian idiosyncrasy is missing. The ear, exposed to unexpected sounds, has to make all kinds of new adjustments. There also is a desperate attenmpt, while listening, to make sense of language mangled by singers with inept diction. This ‘Rhinegold’ detracts from the music. Perhaps constant exposure to Wagner in English would make it as natural as original German. Right now it is a rather disconcerting experience, and much more is lost than the little; that is gained.

This “Rhinegold” is part of the Seattle Opera’s back‐to‐the‐original concept. It is presented as the “Ring” used to be presented from the first Bayreuth‐cycle in 1876 through World War II. Lincoln Clark directed, and John T. Naccarato supplied the Seta and costumes. The curtain rises to reveal the bottom of‐the Rhine, with watery projects in motion on the front scrim and a rear curtain. The Rhine Maidens glide satisfactorily, around in swimming motion; there was a’ big pile of rocks on which the gold rests; Alberich is really a lustful dwarf, not some vague neo‐Bayreuth symbol. All of the other scenes are equally traditional, culminating in the rainbow bridge to Valhalla. For some reason, this particular Valhalla is curiously dim and unimpressive. Wotan should have asked for his money back.

The performance had some fine things ‘about it. Raimund Herincx, young‐looking, athletic Wotan, sang with a good deal of thrust. He has beautifully placed voice of good size, and his singing had a great deal of personality. Malcolm Rivers, the Alberich, and Paul Crook, the Mime, were as impressive as’ German “Ring.” Marvellee Cariaga, a mezzo well on her way to big things, was as opulent‐sounding a Fricka as one could desire. As Fasolt and Fafner, Edmond Karisrud and Noel Mangln represented the highest of international standards. Ticho Parly was the Loge, and be, too, held up his own in this fine cast.

From the orchestra came a less convincing account of the score. Henry Holt conducted accurately enough but without much vitality. The surge and thunder and color of the Wagnerian orchestra were missing. Everything sounded as pallid as the gods looked when Freia and her golden apples departed. It is true that a few more strings would help the orchestra. It unfortunately is also true that Mr. Holt represents the conductor who, in Hans von Bülow’s words, has his head in the score rather than the score in his head.

Harold C. Schonberg | July 27, 1977