The Machine honors Wagner’s intent to create an immersive, organic work of art, allowing the fantastical story to move forward from scene to scene fluidly - as if dancing to the music - without clunky, distracting set changes. In essence, Wagner’s leitmotif-driven score is an undulating, through-composed single unit. However there’s no getting around the fact that the shape-shifting set is a treacherous working environment for the singers, many of whom looked unsteady and unsure performing on it.īut what I find most compelling about the production is its quest to find a visual equivalent to Wagner’s astonishing music. ![]() It’s also noticeably less audibly creaky, which allows for optimal enjoyment of the music-making, which has been thrilling (more on that later). ![]() However, so far this time around, the Machine has luckily been behaving itself, with nary a technical glitch. Lepage’s ambitious vision, although I admit that I still find some of its execution less than ideal. My thoughts? Well, I’m actually a defender of Mr. I’m roughly halfway through, having revisited Das Rheingold and Die Walküre. Over the past two weeks, I’ve had the opportunity to start reassessing Mr. A scene from Robert Lepage’s production of Richard Wagner’s “Das Rheingold” at the Metropolitan Opera.
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