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One Opera, Three Acts, Three Completely different Stagings

The German lighting designer Urs Schönebaum, a frequent collaborator with Robert Wilson, is answerable for Act II. Right here, Schönebaum makes use of lighting results and a darkish palette to dramatize the conflicts between Wotan, the chief of the gods; his outraged spouse, Fricka; and his beloved however defiant daughter Brünnhilde. Schönebaum stated that “lighting is a part of the set,” and has provide you with what Gerlach referred to as “a refined visible strategy” that’s life like in contrast with the opposite two contributions.

The German artist Ulla von Brandenburg, who relies in Paris, is the inventive pressure behind Act III, wherein Brünnhilde’s Valkyrie sisters attempt to shield her from Wotan’s wrath. Von Brandenburg, identified for utilizing shiny textiles in her movies and installations, has created multicolored, ever-shifting units customary out of the identical painted cotton that she has used for the costumes.

Stuttgart has an enormous off-site rehearsal facility, outfitted with two halls the identical scale as its theater’s predominant stage. Schönebaum, whose act requires exceptionally exact lighting, needed to divide up essential entry to the true stage with the opposite groups, resulting in a schedule that he referred to as “extraordinarily tight.”

Brian Mulligan, the American baritone singing Wotan, seems in two of the three acts, and consequently had round 15 shoe, wig and costume fittings. (He stated a fraction of that will be nearer to the norm.) Even Schoner, who settled on dividing up “Walküre” in fall 2020, admitted it was a problem choreographing a curtain name that will accommodate the three groups.

Goran Juric, the Croatian bass who sings Hunding, Sieglinde’s brutish husband, apprehensive that the night could be “form of schizophrenic for the viewers.” That concern additionally arose among the many firm’s administration. Siegmund’s sword is a crucial prop in all three acts, and early within the planning, Gerlach urged that the identical sword stay as a form of Wagnerian leitmotif by means of the night; that concept was rejected. However, he stated in an interview not lengthy after the primary costume rehearsal, continuities have emerged “with out being deliberate by us.”

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