Although not the most controversial of postwar Bayreuth Rings -- Georg Solti and Peter Hall's retro-Romantic Ring with naked Rhine maidens wins that prize -- Pierre Boulez and Patrice Chéreau's post-industrial revolution Ring as metaphor for the decline and fall of capitalism is certainly the second most controversial postwar Bayreuth Ring. But more controversial than Chéreau's dramatic conception was Boulez's musical execution. With startlingly clear textures, spectacularly bright colors, and stunningly light tempos, ...
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Although not the most controversial of postwar Bayreuth Rings -- Georg Solti and Peter Hall's retro-Romantic Ring with naked Rhine maidens wins that prize -- Pierre Boulez and Patrice Chéreau's post-industrial revolution Ring as metaphor for the decline and fall of capitalism is certainly the second most controversial postwar Bayreuth Ring. But more controversial than Chéreau's dramatic conception was Boulez's musical execution. With startlingly clear textures, spectacularly bright colors, and stunningly light tempos, Boulez' obtains a Wagner sound like no other. And for those with ears to hear, it works. Wagner's music doesn't have to be murky to be metaphysical or massive to be overwhelmingly moving and Boulez gets playing from the too-often turgid Bayreuth Festival Orchestra that makes the music crackle and blaze with musical and dramatic meaning. But perhaps most surprisingly, the best thing about this Ring is the singing, or, rather, the singing-acting. From Donald McIntyre's bigger than life but...
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