The previous three installments in the State Opera of South Australia’s 2004 live Ring cycle hold considerable allure by way of opulent, vividly detailed surround sound and sumptuous orchestral playing, propelled by Asher Fisch’s strong and decisive podium presence. In Götterdämmerung Fisch’s splendid ear for textural differentiation and dramatic pacing keep the music’s epic narrative flow alive most of the time, save for an overly brisk Funeral March and much dragging throughout the Immolation Scene. However, uneven casting choices come close to undermining Fisch’s fine work.
In place of Gary Rideout, whose light, youthful, flexible tenor graces the opera Siegfried’s title role, we have Timothy Mussard’s dry, monochromatic voice in not so effortless fettle as the Götterdämmerung Siegfried. As Brünnhilde, Lisa Gasteen’s sure sense of character and excellent diction pay off in Act 1’s scene with Waltraute, alongside Elizabeth Campbell’s solid, dark-hued mezzo. Elsewhere she’s hampered by inconsistent intonation and an insecure, wobbly top range, notably in the Immolation Scene and throughout the Prologue’s Love Duet, where she dodges the high C with a shaky A-flat.
Joanna Cole’s Gutrune fares best in soft, intimate moments, such as her crucial transitional scene in Act 3. Jonathan Summers’ gruff, one-dimensional Gunther contrasts to Duccio dal Monte’s hefty and well-characterized Hagen. And I wouldn’t be surprised if the respective Norn and Rheinmaiden trios had been extensively rehearsed. What’s that wolf-whistle we hear about 44 seconds into Act 3, track 3? Is that Siegfried ogling the Rheinmaidens, or a randy audience member? If you want to sample this cycle, stick with Walküre.
