Opera Preview: "Siegfried" at Union Avenue Opera

Marc Schapman as Mime
David Dillard as Wanderer
(C) John Lamb 2014

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Union Avenue Opera is nothing if not fearless, often taking on works that strain the company's space at the Union Avenue Christian Church to the limit. This weekend and next, the company follows its highly praised productions of Verdi's "La Traviata" and Andre Previn's "A Streetcar Named Desire" with the final production of its 20th anniversary season, "Siegfried." It's the third installment of its most ambitious project yet—Wagner's mammoth four-opera cycle “Der Ring des Nibelungen” (“The Ring of the Nibelung”).

The story of the "Ring" is an epic fantasy involving clashes among gods and heroes over a magic ring that gives the wearer nearly unlimited magical power but also carries with it a terrible curse. There are dwarves, giants and (yes) even a dragon—but no hobbits or elves.

As did Tolkien for his "ring" cycle, Wagner (who wrote the libretti as well as the music) used stories from Norse and Scandinavian mythology to forge a tale of the passing of the old gods and magic and the rise of humanity. For both Wagner and Tolkien, great power comes not only with great responsibility, but with certain doom as well.

To get a feel for just how ambitions a "Ring" cycle is, consider the sheer scope of the project. The four epic operas of the "Ring" were intended to be performed as a single theatrical unit over four days, running a total of around 15 hours. The shortest of the four, "Das Rheingold" ("The Rhine Gold") runs around two and one half hours while the longest, "Götterdämmerung" ("The Twilight of the Gods") clocks in at around five hours, not including intermissions. For both performers and audience members, it's a major commitment.

Clay Hilley as Siegfried
Marc Schapman as Mime
(C) John Lamb 2014

The version of the "Ring" Union Avenue is presenting is not, I should point out, Wagner's original. That would be far beyond the technical capabilities not only of Union Avenue but, indeed, of every other opera company in town. The nearest city with a large and well-equipped enough opera house to mount a full production is the Lyric Opera in Chicago, and they won't be doing one until 2016. Even Wagner had to have his own theatre built for the purpose—the Bayreuth Festspielhaus, where the "Ring" and other Wagnerian operas are performed every summer at the Bayreuth Festival.

Instead of the originals, Union Avenue is using reduced versions of the operas created in 1990 by British composer Jonathan Dove and director Graham Vick for use by smaller companies without the resources to mount full-scale productions. They're noticeably shorter, but that's not the sacrilege you might think. Wagner the librettist does not always serve Wagner the composer well, and there's much in the texts or the originals that is redundant and discursive.

This reduced "Ring" is still a big deal for a small company, though, and Union Avenue deserves a lot of credit for taking it on.

Union Avenue's "Ring" got off to a somewhat rocky start in August of 2012 with a production of “Das Rheingold" marred by some technical glitches and sluggish tempi. Things improved noticeably in last year's "Die Walküre", which packed a considerable dramatic punch. Will "Siegfried" continue that trend? The only way to find out is to see it. Performances are Fridays and Saturdays at 8 p.m., August 22-30, at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. For more information: unionavenueopera.org. Note that there is a parking lot but it tends to fill up quickly, so you'll want to get there not later than 7:30 if you can.

The ring of power. No, not THAT one.

Union Avenue Opera is nothing if not fearless, often taking on works that strain their space at the Union Avenue Christian Church to the limit.  This weekend and next, though, marks the second installment of their most ambitious project yet.

That project is a complete traversal of Wagner's  titanic "Der Ring Des Nibelungen," a cycle of four operas (or, as Wagner referred to them, three operas and a prelude) that took 26 years to write and almost as long to perform ("that's a joke, son!").  The epic story spans three generations and tells the tale of a cursed ring of power that grants its holder world dominion—but at a terrible cost.  Mythical creatures abound, including dwarves, giants, demigods, and even a dragon.  If that sounds familiar, that's not surprising; both J.R.R. Tolkien and Wagner (who wrote his own libretti) drew heavily on the same mythical mother lode.  Tolkien claimed that he wasn't influenced by Wagner, but some scholars haven't been convinced.

Be that as it may, the "Ring" is a massive undertaking.  In its original form it runs around 15 hours, employes huge orchestral forces, and would be out of the question for smaller opera companies like Union Avenue—or even Opera Theatre, for that matter.  Recognizing that problem, in 1990 British composer Jonathan Dove and director Graham Vick created "The Ring Saga," a "reduced" version of the Ring for the Birmingham (England) Opera Company.  It proved so successful that other companies took it up, including Union Avenue.

Dove's reduction uses a much smaller orchestra (18 pieces; Union Avenue uses 21) and makes substantial cuts in all four operas, bringing the entire business in at around 9 hours.  Union Avenue is producing it over a period of four years, one opera per year.  It began with "Das Rheingold" last August and continues with "Die Walküre" this weekend and next (August 16-24).  "Siegfried" and the gargantuan "Götterdämmerung" will follow in 2014 and 2015.

Reviewing "Rheingold" last year, I dubbed it something of a mixed blessing, but a blessing nonetheless.  I will certainly be there this Friday to see how the company handles "Walküre."  I'm especially looking forward to Soprano Alexandra LoBianco's Brunnhilde, favorite daughter of Wotan and chief Valkyrie.  It's a long and demanding role, even in Dove's reduction, and is usually associated with older singers.  "Dramatic sopranos," writes Sarah Bryan Miller in an August 11th article at stltoday.com,  "mature later than other voice types, and at 35, LoBianco is young for a dramatic soprano to be taking on this particular role."

Bottom line: it'll be exciting to see what Union Avenue does with this difficult but rewarding material, and unless the entire idea of a Wagner opera fills you with dread, I strongly encourage you to go.  If your exposure to the "Ring" is limited to "What's Opera, Doc?" ("Kill da waaaabit!"), though, you might want to read through a synopsis of "Die Walküre" at wikipedia.  Union Avenue also offers a capsule what "Das Rheingold" ("previously on The Ring...") at their web site.

Or you can just enjoy the great Anna Russell's half-hour version.

Tickets for all performances as well as for the opening night reception at Tavern of Fine Arts are available at Union Avenue's web site.  Note, by the way, that while parking is free, the lot fills up quickly, so it's a good idea to get there early.  You can always have a snack and drink (non-alcoholic, alas) in the lobby before the show.