Wagner’s Epic Götterdämmerung Screens at The Clark and Mahaiwe Live from the Met

Deborah Voigt as Brunnhilde in the Met's new Götterdämmerung. Photo by Brigitte Lacombe © 2011 The Metropolitan Opera.

(WILLIAMSTOWN, Mass.) – Wagner’s epic opera Götterdämmerung, starring American soprano Deborah Voigt and American tenor Jay Hunter Morris, screens at The Clark in Williamstown and the Mahaiwe Performing Arts Center in Great Barrington on Saturday, February 11, 2012, at noon, live in HD from the Metropolitan Opera. The 6.5 hour opera will also be shown at the Mahaiwe Performing Arts Center in Great Barrington at the same time, as well as in an encore broadcast on Wednesday, February 15, at noon.

Götterdämmerung is the thrilling climax of Robert Lepage’s innovative, high-tech staging of Der Ring des Nibelungen (the Ring cycle), opera’s definitive saga.

American soprano Deborah Voigt takes on the role of warrior maiden Brünnhilde, one of the most demanding roles in all of opera, and American tenor Jay Hunter Morris performs the role of the doomed hero, Siegfried.

An extraordinary cast sings each of the crucial roles in the opera, including two veterans of the earlier Lepage Ring operas, German bass Hans-Peter König (here singing the villain Hunding) and American bass-baritone Eric Owens, returning as the greedy dwarf Alberich; Scottish bass-baritone Iain Paterson and American soprano Wendy Bryn Harmer as Gunther and Gutrune, the human siblings who destroy the love between Siegfried and Brünnhilde; and the veteran German mezzo-soprano Waltraud Meier as Waltraute, the Valkyrie who warns Brünnhilde that her actions will cause the destruction of the world.

Fabio Luisi, the Met’s Principal Conductor, leads the orchestra, chorus, and cast in the sweeping, varied score, which weaves together leitmotifs from all the operas in the saga and leads to an unforgettable conclusion, as Brünnhilde’s love for Siegfried is betrayed and she plunges the world as she knows it into a cataclysm of total destruction.

Götterdämmerung is the most theatrically effective staging of the four works in this epic series, and the clearest representation of the director Robert Lepage’s vision… Fabio Luisi drew an uncommonly articulate and nuanced account of this daunting opera” (New York Times).

 

 

 

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