At the end of Opera North’s first performance of Das Rheingold, conductor Richard Farnes singled out the orchestra section by section (horns and Wagner tubas inevitably, rightly, first) for applause before calling on the singers. Such a reversal of the normal operatic order was entirely appropriate, not only because he had just led a hugely impressive orchestral performance of great balance, intensity and dynamic range, but also because of the concept of the Opera North Ring Cycle.

As with many an opera company, Opera North is building the cycle over four years. Das Rheingold, simply a “preliminary evening” though running two and a half hours without interval, gives the background to the dysfunctional family in Valhalla and their uneasy relationship with the Ring of the Nibelungs which was fashioned for Alberich from the gold he stole from the Rhine-maidens. Already, by the end of Das Rheingold, it has caused one murder; worse, of course, is to follow.

What is different about Opera North’s production is that it is semi-staged. A fully staged Ring Cycle is a near-impossibility, financially and logistically, for a medium-sized company touring to medium-sized theatres. Scottish Opera’s 2003 cycle was a magnificent achievement, but the three full cycles in only two theatres (if my memory is accurate) helped to push the company to the brink of financial melt-down. With Peter Mumford in charge of the visuals, Opera North has opted for a huge orchestra banked up below screens with impressionist images and rather poetic narrative (by Michael Birkett), an effectively dramatic lighting plot, simple identifying costumes and enough acting to realise the emotions of the music.

All of the admirably committed Opera North cast are adept at conveying character by gesture and expression and the semi-staging works well for anyone not seeking an ‘interpretation’. Outstanding are Nicholas Folwell, who brings vivid singing and characterisation (and a wealth of experience) to the role of Alberich, and Wolfgang Ablinger-Sperrhacke whose sneeringly cynical Loge is equally precise vocally and in gesture. Yvonne Howard’s Fricka and Giselle Allen’s Freia are both convincingly human and sung with affecting intensity. A strong American contingent includes James Creswell’s sonorous Fasolt and Gregory Frank’s dangerously unpredictable Fafner, plus Richard Roberts making much of little as Mime. Michael Druiett, Donner in the Scottish Opera cycle, is initially more lyrical than heroic, husbanding his resources to save something for his confrontation with the giants, and maintains an oddly human dignity even at his least admirable.

Editorial Staff | 20 June 2011

For the newcomer, Wagner’s Ring is a tough nut to crack: for the opera company, there is the colossal expense; for the opera-goer, there are mystiques to fathom.

So Opera North faces a dilemma: long stretches of concert performance might lack allure, whereas a full-blown production would be financially unfeasible.

The resulting compromise, masterminded by Peter Mumford, treads the fine line between the two extremes quite brilliantly. Mumford directs the staging, having designed the lighting and photographed the material projected onto screens in front of the organ. These show running water or mist creeping over mountains, along with impressionistic images: shades of gleaming gold for the bridge to Valhalla, for example.

Superimposed on them are occasional pithy narratives, complementing the side-screens translating the libretto.

Richard Farnes’s much-expanded orchestra climbs the risers beneath the back-screens, while the soloists sit behind him.

Remarkably this does nothing to disturb the fine balance between singers and players. Shades of formal dress are the order of the day. There are no props. Ring and helmet have to be imagined through evocative gestures. There is even occasional physical contact, as when Wotan forces the ring off Alberich’s finger.

A cast of uniformly high quality sings from memory. Michael Druiett’s towering Wotan leads from the front, vacillating when under threat but regaining authority with Freia’s recovery. He is attended by Derek Welton’s impetuous Donner and Peter Wedd’s more lyrical Froh, nicely contrasted, with Yvonne Howard his elegant, solicitous Fricka. Wolfgang Ablinger-Sperrhacke brings several touches of light humour to his engaging, if mildly camp, Loge, smirking or fluttering his fingers dismissively at the Rhinemaidens.

This flighty trio – Jenni Bern, Jennifer Johnston and Sarah Castle – sets the bar high at the start, finding a keen blend. They are matched in intensity by James Cresswell and Gregory Frank as the giants, the one commanding, the other phlegmatic.

Nicholas Folwell delivers a slippery Alberich, carefully worked, with Richard Roberts a vivid Mime. Andrea Baker shows great presence as Erda. Giselle Allen’s fretful Freia completes this excellent team.

Richard Farnes has the orchestra in the palm of his hand. Leisurely through the prelude and opening scene, he gradually moves through the gears, coaxing his brass to new heights with succeeding climaxes. They respond majestically. The orchestra’s composure is not the least undermined by the addition of so many supernumeraries. As a concert introduction to the cycle, this production could hardly be bettered.

Martin Dreyer | 24th June 2011

This marks the start of Opera North’s first Ring cycle, which sees the company present the operas over four years in semi-staged performances in concert halls rather than regular theatre venues – where most of the pits are too small to accommodate Wagner’s orchestra. We’re in for something special, if Rheingold is anything to go by. Despite a couple of flaws, this was one of the most enthralling Wagner performances of recent years.

Much of its success is due to conductor Richard Farnes, who is meticulous as to detail, though he also has a tremendous sense of the ebb and flow of Wagner’s vast musical paragraphs. The orchestra play as if inspired, and with an accuracy that often surpasses some ensembles that are ostensibly more familiar with this music. There’s none of the reverential solemnity that has a habit of creeping into some Wagner interpretations, and the whole thing is thrillingly clear and intense.

That sharp focus of detail extends to much of the singing, too. Peter Mumford’s semi-staging is strong on psychological interaction and moral probing, so we’re acutely conscious of how Nicholas Folwell’s unusually empathetic Alberich and Michael Druiett’s arrogant, if overly rigid Wotan are linked by greed and self-deception. Yvonne Howard is the classy, very manipulative Fricka, Wolfgang Ablinger-Sperrhacke the camp, sinister Loge. Images of water, mountains and molten metal are projected on screens above the orchestra, which also carry summaries of the plot drawn from Michael Birkett’s The Story of the Ring. They sometimes prove distracting, though telling references to “middle earth” remind us of the often controversial similarities between Wagner and Tolkien.

Tim Ashley | 21 Jun 2011