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| Photo: Cory Weaver/San Francisco Opera |
San Francisco Opera’s production of “Siegfried” (June 29) continued to file its environmental impact statement with projected videos and sets that emphasized an ugly planet. The bleak visuals didn’t detract from the exceptional performances by all of the principals, led by Daniel Brenna in the title role. The singing and acting was enhanced by an orchestra that again played at the highest level. The combined effect brought the audience at the War Memorial Opera House to its feet with cheers and thunderous applause.
The videos (designed by Jan Hartley) showed a landscape of tree stumps and electrical substations, powerlines, train tracks, and spillage from an industrial wasteland. The stark picture was also conveyed in the gritty scenery (designed by Michael Yeargan) that revealed an old beaten-up trailer, car seats, and various debris to a makeshift-forge. In Act II an abandoned warehouse functioned as the lair for Fafner, who was ensconced in an armor-plated, tank-like vehicle that had claws.
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| Photo: Cory Weaver/San Francisco Opera |
Brenna sang ardently and with great stamina to deliver an exciting performance as the impetuous Siegfried. Brenna’s youthful look was a tremendous asset for this production, and he matched up well in all categories with Iréne Theorin, who embodied Brünnhilde with panache. David Cangelosi fashioned an animated and conniving Mime who was strangely likeable. Mime certainly got some sympathy when Siegfried waterboarded him to force him to reveal something about Siegfried’s parentage, and that didn’t stop Cangelosi’s Mime from executing joyful cartwheels in expectation of getting the ring.
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| Photo: Cory Weaver/San Francisco Opera |
As Fafner, Raymond Aceto’s voice had a unique blend of strength tinged with regret. In the role of The Wanderer, Grimsley exuded a deep sense of resignation. Ronnita Miller’s formidable mezzo issued Erda’s warnings with gravitas. As the Forest Bird, Stacey Tappan poured out a beautiful sound but needed a tad more sparkle. Her character fortunately shooed Siegfriend away from the idea of lighting a match after he poured gasoline on the dead bodies of Fafner and Mime. Falk Struckmann was a terrifically menacing presence when he threated Mime again.
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| Photo: Cory Weaver/San Francisco Opera |
It would be difficult to overstate the outstanding playing of San Francisco Opera Orchestra. The musicians created all of the lush music with great sensitively, but they also incisively revved up the dynamics at the drop of a hat (or baton) with gusto. The French horn soloist played with incredible abandon, which made Siegfried’s calls wonderfully lively. Donald Runnicles deftly paced the orchestra and guided the entire enterprise with terrific verve. It was an exceptional evening and one of the best performances of “Siegfried” that I’ve heard.
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| Photo: Cory Weaver/San Francisco Opera |
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