Washington Opera premieres new “Siegfried” production with 2 tenors teaming for title role

Review: 2 tenors for 1 Wagner role in DC Opera

WASHINGTON — It’s one of an opera company’s worst nightmares: The star tenor loses his voice before opening night, and there’s no understudy to take his place on stage.

The scenario gets even grimmer when the opera is Wagner’s “Siegfried,” the third installment of his “Ring” cycle and a work in which the title character has to sing for virtually the entire 4 1/2-hour performance.

So when Swedish tenor Paer Lindskog came down with bronchitis during rehearsal for the Washington National Opera’s new production, the company flew in American Scott MacAllister — and the two men combined forces Saturday night.

While MacAllister, with no time to learn the complicated staging, sang from the side of the stage, Lindskog lip-synched through all three acts as the young superhero who forges a sword, slays a dragon, captures a magical golden ring and plunges through fire to win the heart of Bruennhilde.

(Such a compromise is not unprecedented. At the Seattle Opera in 2001, Canadian Alan Woodrow injured his leg in a gym accident and had to sing the role of Siegfried from the sidelines, while another tenor acted on stage.)

But the arrangement lent a disjointed air to the proceedings — a pity, since Lindskog portrayed a Siegfried far more sympathetic than most. Wagner’s creation usually comes off as an unfeeling boor, but Lindskog and director Francesca Zambello avoid this by emphasizing Siegfried’s high spirits and restless energy. Plus, Lindskog, with his long hair and relatively buff physique, is believable as a beer-swilling post-adolescent.

For his part, MacAllister did a creditable job getting through one of the most demanding roles in all of opera. His voice often had the requisite heroic tinge, but it turned reedy when he tired. At such times it became difficult to distinguish between his sound and that of tenor Andreas Conrad (excellent in the role of Mime, the dwarf who has raised Siegfried not out of love but out of greed.)

There were other strong performers in the cast. Baritones Alan Held and Gordon Hawkins were imposing as, respectively, Wotan, king of the gods now reduced to roaming the earth as the Wanderer, and Alberich, the dwarf who stole the gold from the Rhinemaidens. In smaller roles, bass Gidon Saks, mezzo Nancy Maultsby and soprano Micaela Oeste made vivid impressions as the giant-turned-dragon Fafner, the earth goddess Erda and the forest bird whose warbling Siegfried learns to understand.

Bruennhilde was sung by Swedish soprano Irene Theorin, in what was to have been her U.S. debut. But Washington isn’t the only company with “Ring” casting problems, and the Metropolitan Opera brought her in as a last-minute substitute for several performances last month. In the vast Met (3,800 seats) she sounded underpowered. In the cozier confines of the Kennedy Center (2,300 seats) her voice sounded bigger, but the difference also magnified her vocal limitations — unsteadiness in the middle range and a strident quality to her high C’s.

Zambello’s production, with sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Mark McCullough and video projections by Jan Hartley, continues their attempt to create an “American Ring” that resonates with themes from U.S. history. “Siegfried” takes place in mid-20th century landscapes blighted by industrialization. Siegfried and Mime live in a shabby trailer next to a garbage dump. Act 2, instead of taking place in an idyllic forest as Wagner envisioned, is set in an abandoned factory complex. The Wanderer is a homeless man who carried his bedroll with him and hasn’t bathed in awhile. Alberich is a terrorist who makes Molotov cocktails and carries his belongings in a shopping cart.

These conceits are entertaining enough, but what really distinguishes Zambello’s direction is her flair for bringing characters to life, often with small touches: Mime, revealing his contempt for Siegfried by spitting toward him while his back is turned; the dying Fafner affectionately cradling Siegfried in his metallic arms; Siegfried himself, fondling a turquoise scarf that belonged to his dead mother.

Conductor Michael Guettler drew mostly fine playing from the orchestra, but his pacing was slack and made the long score seem even longer.

There are four more performances through May 17. The company remains optimistic Lindskog will recover in time to sing most of them.

On the Net:

Washington National Opera: www.dc-opera.org