Simone and the Valkyries

Die Walküre, Sydney Opera House, 15 November 2024

(Simone Young, Conductor /Sydney Symphony Orchestra/Stuart Skelton, Siegmund/Peter Rose, Hunding/Vida Miknevičiūtė, Sieglinde/Tommi Hakala, Wotan/Alexandra Ionis, Fricka, Roßweiße/Anja Kampe, Brünnhilde/
Helena Dix, Helmwige/Madeleine Pierard, Gerhilde/Natalie Aroyan, Ortlinde/Deborah Humble, Waltraute/Margaret Plummer, Siegrune/Kristin Darragh, Grimgerde/Liane Keegan, Schwertleite)

The Sydney Opera House does not have the capacity to mount a proper Ring Cycle, but its beautiful concert hall can put on a brilliant concertized version, and Die Walküre offers a chance to savour the key spoke in Wagner’s wheel without the distractions of the monumental amount of staging required for a full-scale production. Instead there were some modest light effects that acted as a mnemonic.

The consummate Simone Young perfectly melded the orchestra and terrific singers, spurning tricks and flourishes and allowing the performers aural space to shine with discretion and meaning, their forms unclouded by helmets and swords. Indeed, the acting and emotion had additional clarity by virtue of the constraints of a straight concert, but without the loss of dynamism or drama. The cast was outstanding: Anja Kampe as Brünnhilde was duly heroic but empathetic, and able to galvanise with her high top-notes “Heiahas” and “Hojotohos” while handling the quieter moments tastefully.

Vida Miknevičiūtė was outstanding as Sieglinde. Blessed with film-star looks, she evoked the deep sadness and longing with which her character is afflicted, and made the close of Act II especially moving, despite the differences in size between her and her incestuous brother. Peter Rose as Hunding, looking like an East European villain from a Netflix crime drama, was very fine, menacing, and formidable. Tommi Hakala as Wotan humanized that god and added layers of colour that vividly brought-home his existential dilemma. And he was well matched by Alexandra Ionis as Fricka, discarding the tired trope of the haranguing fishwife, she beautifully captured Fricka’s nobility and integrity.

Stuart Skelton, a true Heldentenor, as Siegmund, sang by rote, as did Miknevičiūtė and the Valkyries, and he showed why he is Young’s first choice for the role, but The Varnished Culture thought he got a little puffed-out, and think he might perhaps – heresy vis-à-vis tenors – lose a bit of weight?

The famous Ride of the Valkyries was played at full pitch, at times dominating the ladies’ voices but they were still splendid, performing (dare we say?) manfully. This concert was a triumph.

On the afternoon of Sunday 16 November 2024, the Wagner Society in NSW hosted a Reception at Customs House on Circular Quay. Guests were welcomed by President Esteban Insausti, and had a very pleasant two hours exchanging views on Friday’s concert, and anticipating the one scheduled for the following afternoon.

TVC had a chance for a brief chat with the superb Waltraute, Deborah Humble, who modestly observed she hadn’t had much to do. But she did it very well. Thank you to the Wagner Society in NSW for this enjoyable event.