9/7/2023 0 Comments Seattle opera 2013His sound and movement were entirely devoted to his character rather than to “sounding good”, but he proved he could do that, too, in the more lyrical lines of his curse in the following scene. With his commanding stage presence and gestures accentuated by cracks of a whip, he coughed, grunted, lip-trilled, writhed, and did whatever it took to sell his text. However, beautiful as the forest was, returning to it was not quite sufficient compensation for being forced to move on from Scene 3, in which Richard Paul Fink stole the show as Alberich in the mines. The transition back to the gods’ forest made the audience blink and along with the actors, as both the characters and spectators took in their surroundings and relished their escape from the darkness. ![]() Both the technical execution and the place created are stunning I could understand Alberich’s desperate need to possess the gods’ world, especially because it contrasted starkly with Alberich’s own realm – a pitch-black mine with the occasional glimmer of gold in the walls. The second and fourth scenes of this Rheingold are set in a realistic forest, with trees, rocks, and a generally rained-on feel that will seem familiar to Oregon and Washington natives. ![]() That place is the Pacific Northwest of the United States, home to such extraordinary natural beauty that stage director Stephen Wadsworth has deemed it fit for the gods. ![]() Some Ring cycles are based on ideological concepts Seattle Opera’s current Ring cycle is based on a place.
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