There are productions that cannot be described. They can only be experienced and leave a lasting imprint on human minds and emotions. On the fifth day after the fantastic spectacle of the opera "Die Walküre" by the Sofia Opera and Ballet, I can't let go of the suggestion of the magnificent music, of the fierce singing and acting of all the artists, of the cosmic set design that sends us somewhere in the universe. In front of my eyes are the eight red horses galloping through space with the Valkyries on them, brandishing swords... I am astonished by the subject matter, so relevant today, of Richard Wagner's opera, which premiered in 1856.
"Richard Wagner's "Der Ring des Nibelungen" is perhaps the most awesome, imposing masterpiece of the nineteenth century in all fields of art. Because of it, Wagner has been compared to Aeschylus and Michelangelo," writes George Martin in "The Opera Spectator's Companion".
"Der Ring des Nibelungen", as well as the operas "Tristan und Isolde", "Parsifal" and "Der fliegende Holländer" are all works in which the genius composer-playwright and librettist embodied his highest insights. Wagner is not just music. Wagner is a seer whose art, wrapped in sacred vestments and symbolism, contains many valuable ideas, messages and warnings, as the artist shows us both the evil and the divine, the tragic predestination and the victory of good, and the immense humanizing power of love in its various manifestations, – writes Prof. Boyanka Arnaudova. In today's unstable and very confused times, reading and insight into Richard Wagner's spiritual covenants is a must. For he has bequeathed to us actual guidance – striving for perfection and ennoblement, unceasing and selfless struggle against evil, power and gold. Again, he also instils in us the hope of possible victory over them."
If we are talking about heroism in art, this is the new interpretation of the tetralogy "Der Ring des Nibelungen" by the great composer Richard Wagner by the largest Bulgarian opera theatre. We are not the only happy ones who attended a performance of the highest European and world class. We are amazed, delighted and inspired by the irrepressible talent, drive, fantasy, depth of penetration into the plot of the mythological narrative by the entire production team, headed by the Director and director of the Sofia Opera Academician Plamen Kartaloff. The transformation between scenes creates a visual spectacle that is astonishing for the audience. To further reinforce what is at stake, to the right of the round, as if on a large TV screen, live scenes of events and characters were recreated. Compliments for the artistic lighting, effects and techniques applied, the clear epic set design that transports us to other worlds and mores, the costumes of gods and goddesses, of Valkyries and mere mortals.
It has been a long time since such a powerful and perfect orchestra was heard as at "Die Walküre" of the Sofia Opera. Compliments to the conductor Evan-Alexis Christ, who led the performance flawlessly, which lasted five hours, with two intermissions of 30 minutes each. The unconventional duration of the three acts (4 full hours) denied some traditionalists the incomparable pleasure of attending the super-production. It is not just my opinion that the acts were so concentrated, packed with powerful energy, with dramatic twists and events, that they passed like a blink of an eye and eager to go on even longer.
In front of me is the sheet with the names of the actors and performers: VOTAN: Thomas Hall; FRICKA: Mariana Zvetkova; SIEGMUND: Martin Iliev; HUNDING: Angel Hristov; BRÜNNHILDE: Iordanka Derilova; SIEGLINDE: Tsvetana Bandalovska; HELMWIGE: Ayla Dobreva; ORTLINDE: Silvia Teneva; GERHILDE: Lyubov mETODIEVA; WALTRAUTE: Ina Kalinova; SIEGRUNE: Elena Mehandziyska; ROSSWEISSE: Tsveta Sarambelieva; GRIEMGERDE: Alexandrina Stoyanova-Andreeva; SWERTLEITE: Vessela Yaneva.
Furter participants were: Bogomil Menkize, Georgi Banchev, Rumen Bonev, Teodor Vodenicharov, Deyan Ivanov, Dario Yovchevski, Ivan Georgiev, Radul Roglev, Zahari Georgiev.
Conductor: Evan-Alexis Christ
Director: Plamen Kartalov
Assistant Director: Yulia Krasteva
Musical preparation: Richard Trimborn, Evan-Alexis Christ
Set design: Hans Kudlich
Costumes: Hristiana Mihaleva-Zorbalieva
Lighting Designer: Andrej Hajdinjak
Multimedia: Ivan Lipchev
Choreography: Riolina Topalova
Structural design: eng. Georgi Georgiev
Design and sculptural work: Boyan Belchev
Artist: Kristiqn Stoqanov
Concertmaster: Maria Evstatieva
Accompanist: Yolanta Smolyanova
Assistant directors: Stefka Georgieva, Teodor Georgiev
Translation: Velizar Genchev
Subtitles: Yulia Krasteva
Cinematographer: Nia Nedkova
Sofia Opera Orchestra
Technical services and studios of the Sofia Opera
Each of the performers deserves a separate article of praise. Thomas Hall's Wotan was truly a god-like omnipotent being, for whom, however, power and gold alone were not enough. He sought love and freedom with mere mortal women, resulting in many children. Despite being on top, he disobeys his wife, the goddess Fricka, kills his own son and punishes his beloved daughter Brünnhilde. In his only appearance on stage, Mariana Zvetkova's Fricka showed a whole range of moods, fortitude and character. Her singing mastery is undeniable. Martin Iliev's Siegmund is a wonderful dramatic tenor who revealed great singing and acting qualities. Angel Hristov's Hunding was a fierce warrior, a man of honour and dignity. My favourite was Iordanka Derilova's Brünnhilde. An extraordinary singer and actress. The Valkyries are not supposed to be moved by the human feelings of mere mortals, but this darling of the god Wotan, at the risk of severe punishment, which she actually received, defended the love between two lovers, defended the future free hero who would be born out of that unstoppable love. Tsvetana Bandalovska built a very interesting image as Helmwige, the beloved, the twin sister, the woman who is doomed to give birth to the future hero.
The audience rewarded with long applause and enthusiastic shouts the performance of all participants in the event, which ended the 53rd Festival of Opera and Ballet Art in Stara Zagora.
"After 15 events – four operas and one ballet, two concerts and two film screenings, two autograph meetings and two exhibitions, tonight we put an end to the 53rd edition of the Festival of Opera and Ballet Art 2023 in Stara Zagora – said the Director of the Stara Zagora State Opera Ognyan Draganov. This festival was a showcase where we showed everything that is present and that gives a future to opera and ballet art in these difficult days for us.
This point was spectacular because the performance "Die Walküre" will be remembered for a long time in Stara Zagora. Thisspectacle, which the Sofia Opera and Ballet presented tonight to you, dear citizens and guests of Stara Zagora and the festival. Thank you and congratulations to the entire team of the Sofia Opera. Special greetings to the entire technical team who spent four days building this huge, spectacular, impressive set.
Good luck to the Sofia Opera and Ballet Company!
I am closing the 53rd Festival of Opera and Ballet Art in Stara Zagora!" said Mr. Draganov.
Rositsa Rancheva
13 Dec 2023dolap.bg
