Understand from the outset: This is a mini-Ring.
It's not Wagner's grand epic as you'd hear it at Bayreuth or the Met or even at Pittsburgh Opera, were the bigger of our local companies to tackle it.
What the spunky little Opera Theater is offering this weekend at the Byham is the first two music dramas of the cycle, "The Rhinegold" and "The Valkyrie" in the excellent English translation of Andrew Porter cannily pared down by British composer Jonathan Dove. It includes mostly young artists who look and act their roles nicely, and a Pittsburgh Symphony contingent totaling about 33.
Last evening's Rhinegold was remarkably satisfying, even for dyed-in-the-wool Wagnerites, while for the uninitiated it is an excellent introduction to one of the great monuments of Western civilization.
For the sacrifice in size and volume, we gain here in dramatic credibility, comprehension and immediacy of expression. The epic becomes a fairy tale told with some of the most gorgeous music ever written.
The old German myth begins at the bottom of the Rhine River, where a vengeful dwarf, Alberich, scorned by the beautiful Rhinemaidens, renounces love for the power of gold, and forges a ring that will make its wearer master of the universe.
Up above, king of the gods Wotan has deceived two giants into building Valhalla. When they demand payment, he steals the gold and the ring from Alberich, who puts a curse on it.
A lion's share of credit for the intimacy and immediacy of this effort goes to the creativity of director Jonathan Eaton, who put a new face on the old masterpiece without sacrificing the essence of the original.
The Rhinemaidens tease Alberich like innocent teenagers who can't predict the consequences of their nasty game. Wotan and his wife, Fricka, argue like any couple having domestic squabbles. Gods and giants are unaware they are being manipulated by the evil fire god Loge.
Loge, in fact, in the person of the superb tenor Joel Sorenson, dominates every scene in which he appears.
Rod Nelman's Wotan provides a foil but does not take control. He sings well, although with less presence to his sound. On the other hand, Jessie Raven's Fricka demands focus by her captivating mezzo-soprano sound.
And for one magnificent moment, the stage is held by the larger-than-life voice and persona of Demareus Cooper, the earthmother Erda who warns of tragedy to come. Milutin Lazich's booming bass rang out as Donner, god of thunder, while Nathan Bahny's Alberich was properly repulsive.
First Published: July 16, 2005, 4:00 a.m.
