Rings  


Opera v. Movie  

Some thoughts on Wagner v. Tolkein/Jackson/Shore Rings from the New Yorker.
Having read the books and listened to the operas as a geeky adolescent, Wagner kicked Tolkein's ass every time. I always imagined Wagner's Ring as a film - its language of leit motifs and flashbacks outlined elements of cinematic grammar. Along with the impossibility of any staging remotely meeting the visual demands Wagner oultined. As the New Yorker critic mentions, you need a Seigfried that looks like Viggo Mortensen, plus you need a Rainbow Bridge, warrior goddesses on horseback, dragons and hot hot hot Rhinemaidens.
I recall, along with listening to Deryck Cooke's "Introduction to the Ring," reading a book ("The Angsty Teenager's Guide to Wagner"?) that outlined the impossibility of any production of Wagner. Who could ever sing the role of Parsifal or Seigfried and be remotely convincing as a visual presence? The last chapter of the book mentioned how maybe someday a movie could capture the vision of Wagner. I wonder if at that point the music would seem over the top, as Wagner used his orchestra like Jackson used his digital special effects.
I do admit that in this morning's early hours, as I watched Mordor crumble at the Gateway Cinema, I had the final act of Gotterdammerung playing in my head, drowning out Howard Shore's soundtrack.  

Posted: Sun - December 21, 2003 at 12:38 PM           |

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