It was twenty years between Wagner’s draft libretto of Siegfried and the completion of the musical score in 1871. Wagner of course had so much to do during this twenty-year period and apart from the Ring cycle he completed Tristan und Isolde and Die Meistersinger. The first full performance of Siegfried was in 1876 at the same time as the first complete production of the Ring cycle at Bayreuth.
This captivating semi-staged performance of Siegfried was given at Sinfonia Smith Square by The London Opera Company.
The London Opera Company was formed over four years ago, to give musicians and international opera singers the ability to keep performing, after the pandemic had affected the careers of so many. From modest beginnings, the Company now regularly performs critically acclaimed semi stage performances of Wagner’s repertoire, with full orchestra.
The company works mainly with homegrown world class singers who have regularly performed all over the UK and internationally. The orchestra consists of a core body of experienced professionals and musicians from all the top training academies and orchestras in the country.
The idea was put together by the soprano Cara McHardy who sings a strong Brünnhilde to Brad Cooper’s intense Siegfried. Cooper has brought considerable sophistication and intellect to his dramatic interpretation of the role of Siegfried. This thrilling Australian tenor is continuing his musical guidance under the teaching of Siegfried Jerusalem who himself was one of the great Wagnerian tenors and performed the role of Siegfried many times.
Just as impressive was the performance of Colin Judson’s Mime. His was a magnetic performance, with a voice full of textural detail and tonal flexibility and his emotional weight beautifully mixed Mime’s malevolent and sympathetic side. Despite the evening being a semi-staged performance his interpretation was irresistible and whilst fitting it was quite sad to watch his death after all his scheming had failed.
Simon Thorpe was a plush sounding Wanderer. Stephan Loges was a virile toned Alberich of considerable force particularly in the middle register. The British bass Thomas D Hopkinson was an aristocratic Fafner. The Waldvogel was a captivating Louise Fuller, and Erda, a mezzo of real substance, was sung by Harriet Williams.
The whole performance was controlled by the British conductor Peter Selwyn who is a professor at the Royal College of Music and a Wagner specialist. It showed, and he was always in full control of his orchestra, and he conducted at a good pace. The venue without a pit is not always ideal to ensure balance between the orchestra and singers especially when the singers stand in front of the orchestra and conductor.
It was an exciting evening, with great quality music and singing on show throughout.
David Buchler