Gotterdammerung is considered one of the operatic wonders. Virtually everything Wagner introduced in the three previous "Ring" musical dramas leads to a spectacular resolution in this, the last of the four operas. Heroes and villains struggle and perish, along with those foolhardy gods. The ring - the tragic catalyst for the saga - is returned to the Rhine. A glimmer of hope appears in the soaring redemption motive that closes the Cycle.
For some, spending three hours in a cinema might seem extreme, but with this live HD filming of the New York Metropolitan Opera's production, get ready for seven hours of non-stop viewing, including three intermissions. Although this might seem overwhelming (and definitely not as taxing as spending a day watching cricket), it is a magnificent and unforgettable experience.
Not only do you get the best seats money can't buy - having the opportunity of being centre stage and up close to the action - but you also get the chance of a lifetime to spend some time backstage during the intermission breaks; there are interviews with the singers as well as conductor Fabio Luisi.
How often do you get the opportunity of talking to performers when they leave the stage, or a conductor before he steps on to the podium?
These "live" screenings give viewers the opportunity to experience opera at its best. "The Metropolitan Opera in New York City, the world's largest and most prestigious opera house is making its talent heard in South Africa, thanks to the massive strides in digital technology. This is evident from the attendance figures, which have grown over several seasons," said Dr Raksha Singh, Ster-Kinekor's select and commercial manager.
For those who enjoyed Lord of The Rings and are fond of Germanic mythology, poetry, grandiose operatic music that is indeed larger than life, and awesome spectacle, Gotterdammerung provides intelligent viewing. Like JRR Tolkien, Wagner had an instinct for mythic storytelling and his operas feature poetic musical themes that are interwoven into the rich narrative to form a cathedral of music.
If you're a first-timer, here's the rundown on the ABC of Wagner's Ring Cycle.
Wagner originally conceived an opera to be called Siegfried's Death. He began work on the project around 1850. As he worked on the poem, he expanded it to include a "prequel" to be called The Young Siegfried. Eventually even that wouldn't hold his story, and it ended up in its present form of three operas, plus an introduction. He worked on the Cycle over several decades and completed it in 1874. The first two components of The Ring Cycle were Das Rheingold (The Rhinegold) and Die Walküre (The Valkyrie). After completing Siegfried, he put the project aside from 1858 until about 1870, during which time he wrote both Tristan und Isolde and Die Meistersinger Von Nurnberg.
With its cataclysmic climax, the Met's new Ring Cycle, directed by Robert Lepage, comes to its resolution. Deborah Voigt stars as Brünnhilde and Jay Hunter Morris is Siegfried, the star-crossed lovers doomed by fate.
The story begins on the Valkyries' rock, where three Norns spin the rope of fate, recalling Wotan's days of power and predicting the end of the gods. When the rope breaks they descend in terror to their mother, Erda, goddess of the Earth.
At dawn, Siegfried and his bride, Brünnhilde, emerge from their cave and as a token of his love, Siegfried gives Brünnhilde the magic ring that he took from Fafner, and she gives him her horse Grane in exchange. Passionately, they bid farewell as Siegfried sets off into the world (Rhine Journey).
It's a complex and fascinating storyline, so it will be advisable to Google the synopsis before attending a screening. An even better and braver suggestion would be to listen to the first three operas in the cycle to kick-start your Wagnerian adventure.
It's most definitely a challenging but captivating experience you will never forget . It guarantees to turn lovers of popular music into opera fans; the resistance to opera is only in the mind and once you are seduced by its magical powers, there's no turning back.
Yes, Wagner is a tough introduction for newcomers, but it's a potent eye-opener to a whole new world of music.
The live screenings of the fifth season of the Metropolitan Opera's productions are shown exclusively at Cinema Nouveau and select Ster-Kinekor Theatres, and continue on 16 March with Verdi's Ernani, Massenet's Manon on 27 April, and Verdi's La Traviata on 4 May.
Go to www.sterkinekor.com for more information.
