On that particular Sunday we all entered “The Met” bearing in mind that it was the inaugural performance of the season, a fact that made us feel that sense of jubilation which most regular opera spectators take with them every time they enter an opera house specially after not having been in one in over 3 months which had been our summer break. It was while inside the theatre that we got a single copy of the program which we got for the purpose of seeing which singers, most of whom we knew personally would be performing on that particular evening.
Gotterdammerung is the 4th opera in a series of 4 which is called "The Ring". The titles of the 4 operas contained in “The Ring” are "Rheingold", "Die Walkire", “Siegfried", and "Gotterdammerung". Translated in to English "Gotterdammerung" would be “Twilight of the Gods”.
The opening of "Gotterdammerung" is a prologue which is followed by a wonderful scene where its 2 main characters, Siegfried (the dragon slaying hero of the opera "Siegfried") and his aunt/lover Brunhilde played on that occasion by Kiri Te Kanawa, whose job it was to bring life and vigor to this character through her voice, sing about how their lovemaking had made them inseparable. Listening to this aria being interpreted by Domingo and Te Kanawa though not fully understanding it (as it was in German ,a language which I am not all that familiar with) only served to enflame my desire to want to work harder so someday it would me who was on that stage leaving them in awe like my idol and friend Domingo was doing.
It is also during this scene that Siegfried hands Brunhilde the ring which he took from Fafner the dragon, he slain in the previous opera "Siegfried", after which he rides off, down the "Rhine" on the noble steed which Brunhilde gives him in gratitude for the ring. It is while Siegfried is journeying down the Rhine that we are blessed by hearing what in my opinion is one of the finest pieces ever written in the history of music, a sublime composition that allows us to feel the gallop of Siegfried’s horse as it makes its way down the Rhine through the thick dark forest in search of adventure.
The end of the first act came with us going to take some refreshment and comment on or perhaps even criticize because if their is one thing we loved doing, it was finding mistakes or improvisations that might have been made by one of the singers.
I don’t remember the exact words I used but somehow I told my friends about the young lady who I had just met. I described not only my encounter with Gosia but every detail I knew about her. What was of special interest to my friends with the sole exception of Brad was that she was not only studying the piano but she also shared our mutual love of opera.
As I expected Brad was the first to make an observation "so you have found another musician for your ensemble". This comment was followed by me saying to Brad "I guess you will have to put up with one more of us." ,Brad seemed to take amusement in my reply and simply said "I would not say put up with, I actually like being around artist I feel it adds another dimension to my personality and it makes me a more cultivated person which even in my line of work can be advantages as many of the people I work with make it a habit of coming not only to the opera but to the ballet as well".
This comment by Brad seemed to ring a bell in Amanda’s ear who blurted out "why don't we go see a ballet, it's been ages since I have seen a ballet". This suggestion was followed up by Barbara who cried out "I am dying to see the "Nutcracker" ,perhaps even "Romeo and Juliet". Brad then said that he had taken ballet lessons in his teenage years and that it had been very helpful to him in learning martial arts and that because of this he too wished to attend the ballet. Arturo then rather jokingly added after having heard our conversation "so it is unanimous then we are all going to the ballet, unless you Bill have any objections or have other previous plans”. I could see that everybody was waiting to hear my answer, so I carefully thought about what I was going to say and then in a very relaxed tone I just said “I will willingly go to the ballet as long it is not on the same night on which I have an appointment with hopefully my future girlfriend.” Barbara then said in a very inquisitive tone of voice almost shocked" you already have a date with Gosia?"
Arturo in a bubbly tone added "you don’t waste any time, do you my friend when it comes to matters such as these". Before I had a chance to tell them about Gosia's and my plan to go see "Halka”, Amanda said almost laughing while looking at me" I more then anybody should know how he never wastes time when he wants a girl, (then turning to Arturo and then to Barbara and Brad) unlike Arturo who wasted so much time that I honestly thought he was either exceptionally bashful or simply not interested in me, well at least not in that regard. Upon hearing this all of us started to snicker but what really got us going was when Arturo said to Amanda" you know I love you above all for your over the top voice”. Amanda’s come back was so quick as to make one think that she was reading her lines "and all this time I thought you only wanted me for other reasons". Amanda’s and Arturo’s verbal exchanges were always the same in that they held hands and kissed while they had them. It was in the middle of one of these kisses that I cried out "not to interfere with this beautiful romantic love scene but I have planned to go see Halka with Gosia and I don’t know if I will be able to accompany you to the ballet, but even if I don’t go, I can assure you that I will be with you in spirit.” Just as I finished saying this the final bell went of for everybody to get back to their seats, something we all did without any further comments being made.
The second act of "Gotterdammerung" is not as romantic as the first one. So I just watched it focusing on the music and Domingo’s perfect intonation. During the second intermission we all went to the room which we in America for some strange and unknown reason at least to me, call the "restroom". In Europe this room is usually referred to as the toilet or W.C.(water closet). As the lines to the restrooms were long, we did not have a chance to exchange further views on the performance or anything else for that matter, given the that the intermission was just long enough for us to get back to our seats before the lights went out.
The third act of "Gotterdammerung" is what I would hail as both one of the greatest works of musical drama ever staged as well as an ideal example of what Wagner himself dubbed “total art”. In this 3rd and final act of this 4 hour opera, which as we already know is the last opera of "The Ring", Siegfried is stabbed in the back with a spear by his friend or the man who he thought to be his friend "Hagen".
It is Hagan who despite only having one eye manages to see well enough to take the ring from Siegfried after having killed him.
The moment for me, the one I had been waiting on not so much as a viewer but as a tenor was the one in which Siegfried is killed. It is before and after Hagen stabs him that he sings of how he could not forget his love for Brumhilde whom he has forsaken for Hagen’s sister Gertrude (who shares the same name as my mother). I always felt that it was this part of the opera that lent itself the best to bringing out the best in not only Domingo’s singing but in his unquestionable acting ability which was second to non as was his voice.
This killing is followed by Siegfried’s funeral which basically makes all hell fire rage when Brumhilde commits suicide by hurling herself in to a blazing inferno, whose flames rise up and not only engulf but consume Valhalla along with all the gods. It is only at the very end that the Rheinmaidens after having drowned Hagen are able to take back the ring which was stolen from them by Alberich at the very beginning of Rheingold that justice is done and that we are left with a sense of peace and justice.
It also is while Valhalla is being burned to the ground that the music is at its boldest and we can hear Wagner in all his bombastic magnificence and even though I have never seen the destruction of Valhalla staged (something I was hoping my mother would someday be in a position to change), I still can't help but get aroused every time I experience it in my mind through the music.
I have noticed that this finale has the same effect on my fellow opera chums. While listening to this part, Amanda and Arturo were holding onto each other like two people who are clinging on to a rock in the middle of a storm so as not to get blown away by a tornado. Amanda had curled up her body toward Arturo putting her knees and almost all of her legs on his lap as she held on to his neck with her long arms. What struck me as being a little out of place (mind you just a little) was that Arturo had wedged his right hand up her long dress which had gone up as far as her knee.
In sharp contrast to Amanda's and Arturo's lovingly cozy position, Barbara and Brad simply sat in their seats looking more like two people who were waiting to get executed on the electric chair.
As all this was taking place I could feel sheer energy running up and down my body as I heard every powerful and even erotic note coming out of the orchestra as I observed not only what was going on, on stage but what Amanda and Arturo were up to. They were involved in an embrace that seemed to last almost as long as the destruction of Valhalla. The view which Amanda and Arturo were providing was adding to the excitement of the music or perhaps it was the other way around or perhaps they were adding to each other, what ever it was the electricity in the hall was tense as the final scene was being brought to an end along with the romantic activity between Arturo and Amanda, which I even think went unnoticed by Brad and Barbara.
As is custom at the end of an opera everybody stood up and applauded, flowers were thrown on stage, all the performers came out to take their bow in front of the audience, first all together then one at a time (Domingo being the recipient of the biggest round of applause) and then finally the conductor (James Levine) went on stage were he was not only given roses but a thundering ovation, and of coarse as every conductor will do in that situation, Levine simply pointed to his orchestra almost as if he were saying to the viewers, it is them who deserve the acclaim.