![]() Siegfried, the tenor John Treleaven, who survived the arduous vocal challenges of this near-impossible role, wears a blue, muscled bodysuit on his upper torso and bearskin baggy pants, though his face is pasty white and his head sprouts golden locks. ![]() Eerie creatures slowly tread in place across the stage: Valkyrie maidens with battle spears like “Star Wars” light sabers and silent gremlin figures covered head to toe in black, who move props and stalk through the staging continually.Īmid the sundry characters is our hero, Siegfried, the god Wotan’s orphaned grandson, and Mime, the befuddled and maniacal Nibelung dwarf who has raised him, both bizarre-looking. It looks like a tilted track for some cosmic foot race. When the lights go up on “Siegfried,” the steeply raked stage, with a rotating platform in the middle, on which the entire “Ring” production is played, is divided horizontally into lanes, using the bright neon tubes that are central to the concept. Freyer, who directed the production, designed the sets and helped design the costumes and lighting, is trying to draw out the most magical and surreal elements of Wagner’s mythological story. ![]() At the performance on Wednesday night, conducted by James Conlon, the qualities in the production that have both captivated and exasperated Wagner buffs were on display. “Siegfried,” the third installment of this four-opera epic, was introduced on Sept. LOS ANGELES The new production of Wagner’s “Ring” cycle that the German visual artist, director and designer Achim Freyer is creating for the Los Angeles Opera continues to divide audiences and critics.
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