Opera Australia’s memorable Brisbane Ring Cycle

Reviewed by John Daly-Peoples

The Ring Cycle

Opera Australia

Lyric Theatre, Brisbane

8 – 14  December 2023

Reviewed by John Daly-Peoples

Opera Australia’s  fully digital Ring Cycle opened in Brisbane last month to critical acclaim and huge audience responses. Three separate seasons of the four-work opera were presented at Brisbane’s Lyric Theatre. The production was originally scheduled for 2020, but postponed twice due to the COVID pandemic,

The scale and scope of the story is epic. It follows the struggles of gods, heroes and several mythical creatures over a magic ring which has been forged by the Nibelung dwarf Alberich from gold he stole from the Rhine maidens. It is a ring that grants domination over the entire world. The drama and intrigue continue through three generations of protagonists, until the final cataclysm at the end of the final opera, “Götterdämmerung”.

Director Chen Shi-Zheng drew on the best of the best talent from Australia, New Zealand and around the globe creating a futuristic version of the Norse mythology into which he wove weave Chinese mythology into the production.

Along with some of the sculptural design features the production will be remembered for the digital staging. Designed by, Leigh Sachwitz, it made use of LED screens with AI auto-generated graphics, audiovisual projections and 3D printed set pieces.

Throughout the operas  abstract patterns and colours were used as motifs for various characters as well as being used  to represent the emotions and the internal struggles of the main characters. 

These design elements were dramatically used in the opening scene of “Das Rheingold” featuring the three Rhine Maidens who were perched on a huge chunk of coral / gold.

Above and behind them were their three doubles, who swam and cavorted in the projected waters, waves and bubbles of the Rhine as though in a huge aquarium.

Later we entered the  underground Nibelung, home to the dwarves, with its digitally created atmospheric, dark cave with accompanying brooding music.

At the opening of “Die Walkure” the stage was dominated by a large icy white, bonsai tree which featured the sword Nothung embedded by Wotan in its trunk – the sword which Siegmund later  releases. This is one of Wagner’s many nods to other mythologies in this case Excalibur, the mythical sword of King Arthur which had magical powers related to  the rightful sovereignty of Britain.

At the conclusion of “Die Walkure” Brunnhilde (Lisa Lindstrom) ascended  a platform/ fortress  which was supported on Walkure spears. At this point as she and her father Wotan (Daniel Sumegi)  engage in an emotive duet about their parting a huge metallic Chinese dragon encircles the  platform to protect Brunnhilde, erupting with flames  from its body.

In “Siegfried” when the hero forges the broken sword, Nothung  after the failure of Mime to do so the digital screens pulsed with giant images of the sword and  flashing flames all accompanied by dancers  rushing around stage trailing ribbons.

When Siegfried enters the forest, the labyrinth he encounters is one of dramatic images, puzzling shapes and symbols while his encounter with Fafner  has him slicing into the dragon-like figure as he progresses from one realm to another though a series of grotesque images.

The conclusion of “Götterdämmerung” featured a pyramidal shape representing  a sacrificial pyre for Siegfried as well as symbolising the ancient notions of life, death and rebirth.

In the final as moments as Brunnhilde mounted the pyramid it blazed with colour while various screen images came alive with bursts of colour and ring images. Then the images which had previously been used throughout the operas were displayed in reverse order as the memories of the gods were replayed in their final moments.

Here the Rhine maidens again appeared, swimming down to retrieve the  ring from Brunnhilde before she was consumed by fire.

There were several  stand out performers in this Ring. Lise Lindstrom was a remarkable Brunnhilde, investing the role with emotional clout. Her presence on stage showed a well-honed acting ability in her various encounters with her lover Siegfried, her husband Gunther as well as her father, Wotan. Throughout her voice was sharp and she conveyed the emotional relationships with both the notions of a  demigod as well as those of a passionate human.

As Wotan Daniel Sumegi was a powerful presence on stage conveying a real sense of a god with his strange godly flaws and weird relationship with wife and daughter.

Warwick Fyfe’s Alberich was a careful mixture of the malevolent and the comic, a menacing presence in the cave of the Nibelung contrasting with his bumbling tussle with the Rhine maidens.

Stefan Vinke as Siegfried had some huge passages to sing and he dealt with them brilliantly both with his macho duet with Luke Gabbedy (Gunther) and his passionate duet with Lise Lindstrom (Brunnhilde).

The Queensland Symphony Orchestra under Phillipe Augin was probably the most impressive part of the four operas, playing for  fifteen and a half hours and never once seeming to flag.

Opera Australia’s 2024 season offers some spectacular operas performances including.

Verdi, La Traviata

2 January – 14 March 2024

Glamour, riches and a tragic secret: La Traviata is the story of a courtesan falling in love. Classic opera with stunning costumes, outstanding music and a fresh perspective.

Gluck, Orpheus & Eurydice

12 – 31 January 2024

Journey to the underworld and back with the grieving Orpheus. Awe-inspiring acrobatics meet Gluck’s exquisite music in this genre-busting production.

Mozart, The Magic Flute

1 February – 16 March 2024, Sydney Opera House
9 – 16 November 2024, Geelong Arts Centre

Embark on an enchanting adventure and meet a host of wondrous characters in Mozart’s The Magic Flute. This production in sung in English.

Bernstein, West Side Story

22 March – 21 April 2024
Handa Opera on Sydney Harbour

A musical masterpiece returns to Handa Opera on Sydney Harbour in a thrilling, larger-than-life staging. Dynamic dance numbers along with fireworks above the harbour.

Puccini, Tosca

24 – 30 May 2024, Margaret Court Arena
25 June – 16 August 2024, Sydney Opera House

A thriller with sensational music, opera’s best villain and an unforgettable ending, Tosca will keep you on the edge of your seat.

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