Das Rheingold and Die Walkure: the LA Ring Revisited

Since I had previously seen the individual productions of LA Opera's Ring cycle over the last year and a half, I was initially not going to see it as the full cycle for reasons of cost and scheduling (9 days to see an entire cycle- what were they thinking?). When the prices came down and the opportunity arose to buy selected performances rather than an entire cycle I eagerly bought tickets to see Rheingold and Walkure and after seeing how director Achim Freyer has tweaked what were already substantial artistic triumphs into near perfection I'm certainly glad I did. I was already tempted to see the fantastic Gotterdamerung again, but now I may even see Siegfried just to see how it's been improved.

Das Rheingold has been tinkered with less than Walkure, though there were subtle changes that made it even better than I recalled. That's saying something since I'd rate this particular Rheingold among my top five favorite productions of all time (and yes, it is my favorite opera). I was seated much further back in the orchestra than I was the first time, which makes Freyer's mise en scenes much more potent but had the distinct disadvantage of making large portions of the orchestra almost inaudible though the singing came through with complete volume and clarity all evening. We were stuck in a dead zone for the orchestra, unfortunately.

Richard Paul Fink has taken over as Alberich, replacing Gordon Hawkins. Fink brings a different, more energetic interpretation to the part, changing the dynamics in a significant way. This production of Rheingold casts Loge as the central figure, while Wotan is an observer to his own miscalculations and poor choices- hence the cage around his head representing how he's trapped by his own machinations. Fink's strong presence makes Arnold Bezuyen's Loge a less dominant figure this time around, which gives the entire production a less sinister air, while making it more of an ensemble piece, further aided by having Fricka and Wotan move about the stage more than they did the first time around. Michelle De Young, who is quickly becoming one of my favorite singers, was again spot on as Fricka, arms extended in pitiable frustration- she's pleading or she's illustrating how despicable her husband's games are. Graham Clark's Mime gave an energized, strongly sung performance. Fink's singing was strong throughout, and while he's not a sinister Alberich, he displays emotion through his voice and body language, allowing him to project more personality than anyone else onstage despite being masked through the entire performance. His Alberich is a cocky ringmaster, corrupted and avaricious. Hungry to exploit and eager to run the show. It's quite an interpretation.

Vitalij Kowaljow's Wotan, which was solid last year after a hesitant start, is now a full-blown star turn, though that becomes more apparent in Die Walkure. Having perhaps the most onerous demands as far as working within Freyer's elaborate production, Kowaljow seems completely at home in this role and he owns it from the moment he opens his mouth. For my money, he's the Wotan I want to see whenever possible and though he's fantastic here, I can't wait to see what he does with this role in a different production.

What surprised me the second time around? How solid this cast is. For Rheingold, there is not a single weak link onstage. I was also impressed by how quickly it moves and feels significantly less static than the 2009 version. Even the scene where Alberich turns from a dragon to a frog, normally my least favorite part of this, went by without me hoping it would be over quickly. The scene in the Nibelung's mine was thrilling and brilliantly choreographed, thanks to Clark's willingness to go all out and lead the way. I'm still not a fan of the airplane rainbow bridge, but it's larger now and makes sense in that you can tell what it is and further back in the house the Giants magnifying glasses are of no effect whatsoever. Small quibbles for what is really one of the greatest interpretations of Wagner's work there is, and I do mean that. For those who think this production has nothing to do with the story, what part of it don't you understand?

The following night we returned for Walkure, which didn't thrill me as much as Rheingold the first time around, but now I would have to concede it's better than it's predecessor. Why? Kowlojov, Domingo and Michelle DeYoung. Kowloljov owns this evening and though Domingo naturally got the biggest rounds of applause, Kowoljov wasn't far behind and in my opinion gave a flawless, nuanced, extremely sensitive performance. In the third act his remorse and anger were staggering. Having Michelle DeYoung replace Anja Kampe, who was a weak link last year as Sieglinde, transformed the first act from the most static thing I've ever seen into a thrilling, brilliant hour of drama and passion. She matches up much better with Domingo, and having the characters move around the circle, while the presence of Hunding and his kin lurk all around them, greatly improves the drama.

Second time around, improvements were significant for the Ride of the Valkyries, which now seems much angrier and violent, and having seen the production, I had a better appreciation of how Freyer uses a silhouette of the unborn Siegfried to mark time's progression, or lack thereof. There are so many brilliant, small details and nuances in this production that illuminate the story (if you know it) in such rewarding ways. The way trails of blood red ribbon tether the gods to Freia. The way Wotan gathers up the same tethers (tendrils?) extending from his Wanderer persona as he prepares to banish Brunnhilde, and then casts them aside, as if it's the most painful thing he's ever had to do. Kowoljow was simply riveting during this part of the third act.

And then there's Linda Watson- the Achilles heel of the production. Still not my kind of Valkyrie, but at least when she didn't have to emote anything strongly her voice was pleasant. Unfortunately, in Walkure, that's not too often, and let's just say she's no Gwyneth Jones.

This night flew by and oddly, was one of the most brilliantly paced, perfectly executed evenings of opera I've ever attended. I just wish I could have heard the orchestra better.

A final note: I saw Freyer in the lobby Saturday night and was quite disappointed he didn't come out to take a bow on either night. Based on the strong audience reaction, I think he would have been warmly greeted. Contrary to all the naysayers, everything I overheard during intermissions and after, with the exception of a certain New Yorker and a lover of Italian Bel Canto whom I brought with me on Saturday, was extremely positive.

Okay, one more note: it was a pleasure to run into Brian from Out West Arts, The Opera Tattler and her brother, and to catch up with Mary Ann Smart, whom I have not seen for way too long.

Really, you'd be foolish to miss this if you can make it.

He said, she said or: Lust and Loathing in LA

I'm sitting in a hotel room in downtown LA listening to Madame Merle complain about the audience at LA Opera (people in flip flops and incessant wrapper masturbation for the last hour of the performance) and compare a magnificent performance of Das Rheingold to Chinese opera. She says Chinese opera was worse. To my ears, that's akin to comparing a South Park cartoon to a Dix painting as equal representations of contemporary social commentary. I could probably come up with a better analogy for this, but when you (if you) get through this post you may understand why I'm not at the top of my game on this day. Oh, let me correct this as I am being heckled as I as write this. She's claiming it was as bad as an Air Supply concert.

Now, is this the most ludicrous thing you've ever read? Heathens.

Guest writer Madame Merle: first, I'm being completely misrepresented... in my defense, which obviously won't work here, i did mention i don't like opera, but i make a really good arm piece...
rheingold, the story could have been told in an hour and the action would not have been sped up in the least. and seriously who taught la-la land opera goers etiquette? here's an opportunity to have an event folks... try some heels! and yes it was 12 hours and 53 minutes at least but eat before or unwrap your candy before the show, you were at the last 10 minutes for goodness sake.
now the Chinese Opera, i was sure my ear drums would burst, who sings that high! and why??? though had about the same amount of action and had actually managed to repress that i had ever seen anything that horrific until about half way through last night's performance when i suddenly had the flashback as i was trying to figure out ways to quietly kill myself to not have to suffer further.
now SOUTHPARK, come on... the beginnings of each episode this season have been brilliant, i was not saying anything at all good about any opera, chinese, german, italian, or any such likes... though did like dix.
are all women in Opera weak? vain? manipulative? so afraid her man will leave her, cheat again, she's willing to do anything?
the lessons i learned last night, power over love, but wait, youth over everything.
and what, only 60 more hours to go... joy of all joys.

Marcher: Yes, everyone knows you like Dix. What to do, you try, try to spread the wonders of the art to those you know and then you end up afterwards sitting at the Omni's outdoor bar listening to how one woman lost her virginity to Walkure (a marathon performance she has never found anyone else could equal since) while the other two tried to convince me of the merits of REO Speedwagon. Really, is this my life? Not that I'm complaining, but it was rather surreal. I was at least relieved to learn the deflowering did not take place during the first act.

Apparently Madame Merle has more to say, since she has figured out a way to poison herself at dinner and thus miss Domingo in Walkure, the prospect of which is causing her to break out in hives while she furiously texts her mother about the faux paus committed by various audience members:

Madame Merle: (putting on her bedroom eyes)... though we were actually a little more passionate about depeche mode... and we all know my likes are why you are allowing me to be here arguing in bed right now...
this is a city where people go to whole foods in their pajamas, but was hoping at least there would be some decorum, style, class... have i been in new york too long... i need to go back to the Met, its only obvious, leaving him to his girls with their german sex tales. [this portion has had certain bitchy elements removed by Marcher, to Madame Merle's great and vociferous protestations].

Marcher: Depeche Mode is the 80's version of Journey and just as musically vapid.

When I return, I'm going to write a real post about last night, and there are still a few other things I need to catch up on, but for now I'm going to give Madame Merle one final shot at clarifying herself (she knows no one cares about this except herself). We are now listening to Rick James. Seriously. Now I feel as if I'm in a Hunter S. Thomson story. Lust and Loathing in Los Angeles. Except there are no drugs to be found anywhere in this room. Well, there is the mini-fridge, which I'm about to drink my breakfast from.

Madame Merle:THERE, THAT'S EXACTLY IT! i had to do that opera stone cold sober!!!! (was about to write iTunes on shuffle as some sort of defense, but the fact that very kinky girl is even on it is indefensible... so i have to stop)

Marcher: She is a pretty arm piece, and brought everything she saw lacking in the audience, but I didn't expect any less of her. Needless to say, the price I'm going to pay for subjecting a juke box girl to 5 1/2 hours of Walkure will probably destroy myriad other hopes and fantasies I may have been harboring about the rest of the stay here in LA, but that's the price one pays for art, no?

It's now 1:20. Anyone want a ticket to see Walkure tonight?

March of the Invisible Siegfrieds Down Sunset Blvd

Concludes tomorrow- HORN at 7:29pm, DROP at 7:45pm

Details are here: http://invisiblesiegfrieds.org/

Even if you aren't fortunate enough to be in LA for this performance, you can still take part in it from anywhere in the world. It's going to be epic, I'm certain.

The Art of Patrick Martinez

During the Spring Street Art Walk in L.A. on 09/10/09 I came across Patrick Martinez's artwork in a tattoo parlor that had a gorgeous chopper in the window. Not my style, but it was a cool bike. Martinez was having a show and I discovered a real talent whose work really reflects his environment and times in a way similar to how Otto Dix captured the Weimer years in Germany with such an unflinching eye. Martinez's work is in the same tradition as the German Expressionists and it's riveting:

I don't remember the last time I saw a more disturbing painting than "High Fructose Corn Loca."

"Big Game Hunters" is another ferocious work updating 19th century hunting scenes for the 21st:

Like Dix, Martinez is also a talented portraitist. The painting below right is his brother, who was at the show:

He also works in neon and mixed media:

More information on Martinez, his work and upcoming shows can be found at patrickmartinez.com.

The show also featured photographs and clothing by LA artist/filmmaker Estevan Oriol, whose pictures of gangs and the culture surrounding them are simply chilling. His site is here.

If you live in LA and aren't attending this monthly event, you are missing out on one of the things that makes your city truly great.

Parting Shots from LA

The following two pictures were taken in a mobbed gallery during the Spring Street Art Walk, which is a completely hot event that takes place downtown at night and the streets (and galleries and restaurants and bars) were full of people.

These large, beautiful and compelling photographs are by Christy Rogers . The models are underwater and the shooting is often done at night. These are just meant to give you and idea of what they look like- the picture are approximately 3'x4'. I don't want to rip-off Christy's work and I couldn't do it justice to try to accurately give you an idea of how gorgeous her work is, go check out her website. The exhibit is appropriately called SIRENS.

I spoke with Christy briefly about the picture below because it has a Gerhard Richter beautiful but scary as hell quality to it and I wanted to know how she achieved the effect of the torn-looking flesh. It's all in the lighting and the water movement. Stunning.



Christy was really kind and very straightforward, answering all of our questions with disarming warmth and openness. After thinking about that for awhile, I wasn't really surprised by that because you can see those qualities in the work.

The picture below made my friend Karin want to pose for her.


I'm ignorant on many aspects of contemporary art, so I don't pretend to get it, but I do know what I like and the art below was particularly interesting to me because it thrills at first sight. Unfortunately I've misplaced the notes with the artist's names. Please post a comment if you can identify them (these are relatively accurate representations):






We had to agree to be patted down and have our belongings gone through before we could enter this bar with the keyhole doorway. Couldn't figure out why once we were in. Everyone seemed pretty low key. I love bars filled with well thought-out kitsch. What I couldn't figure was why the this bar had not one but two televisions in it, which reason enough to leave, but both were tuned to sports. So we left without even ordering a drink. I hate bars with TVs in them. Not cool.



This painting actually includes asphalt on the canvas- I guess that's an appropriate medium for LA art.


Below is Morganne, Universal Chanteuse- who was the most fabulously dressed woman I saw all night. Naturally she was in the French gallery. Amazing outfit. I even got to write on her beige suede boots that matched her hat and the lining of her tres cool jacket. Her whole ensemble just rocked it. I wish she lived in San Francisco, because the only women around here that look this great are usually trannies.

My own addition to the cybersphere of what must by now be one of the world's most photographed buildings but there is something about Walt Disney hall that makes one want to touch it and take pictures of it. It's like a beautiful woman. This building is perfect- inside and out.

The Mistress of Malibu, Ms. Tracy Testin

The coolest man in LA via Detroit, Mr. Jeffrey Malinowski

This is the North Hollywood Metro station at mid-day on a Saturday. Notice how nice and clean and shiny it is. Rides are $1.25 for a nice clean, fast train that actually takes you places you want to go. That this might actually exist one day was unthinkable when I was growing up and living here and is probably the single greatest sign that LA has really evolved into an amazing and forward-looking city. BART/ MUNI riders, yes, it is okay to weep at the realization that Los Angeles has superior forms of mass transit than the Bay Area. Who would have ever believed it?

And yet here is the proof. Once they get the line to make it all the way to the beach... well, I may have to move back.

Really- Saturday- 3 in the afternoon! Can you believe it?