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Pierre Audi's production remains boldly modern, but more respectful of Wagner's conception than most these days. Haenchen's conducting, inspired by the latest research is still briskly dramatic…... — BBC Music Magazine, August 2006,
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Stage Director Pierre Audi Heinz Kruse, Wolfgang Schöne, Henk Smit, Kurt Rydl, Jeannine Altmeyer, Eva-Maria Bundschuh, Anne Gjevang, Hebe Dijkstra, Irmgard Vifsmaier, Kirsi Tiihonen, Gabriele Fontana, Hanna Schaer & Catherine Keen Netherlands Philharmonic Orchestra Hartmut Haenchen
PICTURE FORMAT: 16:9
August 2006
Pierre Audi's production remains boldly modern, but more respectful of Wagner's conception than most these days. Haenchen's conducting, inspired by the latest research is still briskly dramatic… the most dramatically valid recent Ring cycle on DVD.
2010
The Pierre Audi Amsterdam Ring wholly justifies Opus Arte's decision to follow up so soon its uneven Harry Kupfer/Barcelona cycle. Audi and designer George Tsypin work with a varying series of thrillingly lit (Wolfgang Goebbel) acting areas, Hartmut Haenchen's orchestra(s) constantly visible in a manner reminiscent of Baroque theatre. There may be reservations about Haenchen's straight, low-profile interpretation of the music (given in the new critical edition, here featuring colourful percussion and sound effects, and some new brass pitches at the opening of Act 3 of Götterdämmerung), or the harshness of Eiko Ishioka's far from conventionally beautiful Japanese theatrical costumes. But there can surely be few about the freshness of Audi's theatrical thinking, and his reinvention of 'deconstructionist' effects – Fafner as his own mouth; a fierily lit and smoked platform to walk into; or the Wanderer's spear presented for Siegfried to break as a huge, ceiling-high, world ash tree-like totem.
