Nina Stemme singing "Fliegt heim, ihr Raben" from GÖTTERDÄMMERUNG

[@Richter71Kai]

Der Wagner-Gesang befindet sich in einer schweren Krise...und dieser Art Wagner zu singen, sollte man aus dem Weg gehen.

[@fridolinbosse852]

warum denn?

[@jmballestra7607]

Un final magnifique !! Une excellente Brünnhilde !! Génial Wagner !! Utilisation toujours aussi pertinente des " Leitmotive " !!!

[@hs7921]

Amazing performance. Wagner is extraordinarily hard work, and Stemme steps up and does it very well.

[@NYCOPERAFAN]

Superb. Meanwhile at the Met at that time we got nothing but the horrific squalling of one Deborah Voigt - now mercifully retired. Stemme didn't reappear there till 2016 but has yet to perform Brunnhilde there (and at this point most likely never will).

[@VivaRenata]

The WOBBLE that sent the walls of Walhall tumbling down!

[@Beadle_Bamford]

Still so much better than boring overdramatic Renata.

[@Phil-c6y]

I often heard her in her early days in cologne, when she started as lyric soprano :)

[@anthonyames4596]

Jesus, people. It's not about Gutrune. Valhalla is falling, the world order is changing, Gutrune's lament is really unimportant at this juncture.

[@tobiaspeter6555]

Especially, the music is anything BUT about Gutrune

[@DeGuillac]

Actually there's nothing in Wagner to say that Gutrune dies of grief or indeed anything else. She simply fades from the scene with Gunther's body -- which is a great deal more effective than this inanity, certainly.

[@Arminiushoff]

I

[@janossutyak2422]

fantastic finale!

[@curzonproduct]

So basically the director's only idea for the last minutes of the Ring appears to have been "Let's leave Gutrune onstage with nothing to do - After all we paid her for the whole evening!"

[@operazine]

Which is one more idea than you get in most productions of the Ring.

[@AfroPoli]

YIKES

[@adriand6883]

IKR. And to think Nina Stemme won the Birgit Nilsson prize?! Is this really the best we have today?! And that's saying nothing about the dreadfully awful production.

[@draganvidic2039]

Is she doing something wrong? 😜 She’s now still regarded as the greatest dramatic soprano of our time...

[@quequitoAR]

Indeed. Painful.

[@dominikaulfes6808]

I cannot understand many of hte comments here. First of all, Nina Stemme is probably today's most capable Brünnhilde. Having seen her twice in this production, it is simply amazing how beautiful, unforced, selfassured she manages this crucial finale. As with many other Brünnhildes, and I have witnessed quite a fey, there is never a feeling of uncertainty if she will manage her role. She can only be compared to the top singers of the dramatic sopranos such as Birgit Nilsson and Flagstadt. As to the stage direction of Kriegenburg: first of all, you have to see the complete RING cycle to understand Götterdämmerung. By the way, you will find a wonderful up to date production with many surprises and very affectionate moments. Götterdämmerung as the final evening transitions to a Kammerspiel, an intimate play. Seeing the complete opera helps to understand Gutrune's end. And oh yes, it is very coherent and adds a different dimension to the scene. All of us discussing the experienced after the final notes were deeply moved and overwhelmed. One word to Gwyneth Jones: she was a good Brünnhilde in the Walküre. In Götterdämmerung, all recordings I know are just unbearable. Sorry to say that so clearly. And, this is to the belcantist, Wagner singing has seldom anything to do with belcanto. It is much more.

[@voiceofwisdom1]

I begg to differ. We mustn´t forget that Wagner´s ideal singers were still able to sing the operas of Meyerbeer! Certainly, in this last scene of Götterdämmerung there are many wonderful legato lines that should be sung beautifully. As a singer, Nina Stemme is nowhere near the league of singers like Birgit Nilsson, Flagstad. Her wobble alone, the countless extra breaths and her distinctive tendency to be flat place her in a very different league. She does have a good voice (a spinto, not a true dramatic), and she may well be an exciting artist, but she is simply not a good singer from an instrumental point of view.

[@dudeforcaster8630]

Thank you for this, this is what passes for great singing these days; wobbly, out of tune, no line, no legato. Ms. Stemme seems to prefer the slowest of tempi, which only shines a bright light on her many flaws.

[@voiceofwisdom1]

I know, it is perfectly deadful :-(

[@Mawrdew]

I saw Nina's Isolde at the Met last year. She's marvelous.

[@operazine]

NIlsson and Flagstad are dead and you didn't hear them anyway.

[@MrGratefulheart]

Poor Gutrune forgot her staging, so the chorus had to come out and save the day....

[@markpettis2896]

MrGratefulheart Oh that’s a good one thank you!

[@melisandedebussy]

Excelente stemme, excelente rendición

[@no_Ray_bang]

Reading all of these comments about how Gutrune being on stage was a problem. I don't see it. She contrasts with Brunnhilde in that while they are both mourning the deaths of their loves, they are doing it in very different ways. She is witnessing Brunhilde's rage just like the audience is. She just mourns, she doesn't get the catharsis of revenge. Seems pretty straight forward and is at least interesting conceptually, the execution could be quibbled with.

[@tenorschofield]

BRAVISSIMA!!!

[@tonybarde2572]

6:50 onwards is the music of the Final Judgement and then the birth of the New Heaven and New Earth

[@Platinboy]

Wow

[@lakehayden]

Whine all you want, we have only our third ring ever in Australia this year - would love to see them as often as you guys let alone criticise them. Stemme is amazing, and Gutrune really nails the 'ugly cry' lol

[@gino7lord]

This makes no sense, why is the pyre already lit? Shouldnt she light it when she says "zo warf ich den brand ihn walhals prangenden burg"

[@IoEstasCedonta]

Interesting staging for Gutrune.

[@robertomagistri9680]

Un finale meraviglioso!!!!! Niente altro da dire!!!!!

[@seedanrun13m]

I'm a huge Nina Stemme fan. I saw her for the first time as Brunhilde in Walkure in SF in 2010 (her debut in the role, I think ?!), then the complete Ring there (here) in 2011. After that, I traveled to see her in Cleveland (Salome), Houston (Isolde) and Berlin (Isolde), and I'm looking forward to seeing her as Leonora in SF this June. That said, she should give up the roles of Brunhilde and Isolde at this point. She still could do a great Fricka and many other non-Wagner roles, but I'm afraid her time as the best Wagnerian soprano on the planet -- or even as an exceptionally good one (at least as far as Br. & Is. go) -- are over. :( Still, she's playing Br. in D.C.'s Ring in 2016 (for one of the 3 cycles) and I fully intend to see that one, so...yeah. Coming full circle, I'm a huge Nina Stemme fan.

[@brumels1570]

Daniel Henry I heard her as Isolde in Sept and I thought she was surprisingly good. she only faded in Act 3 when fatigue i think brought out big wobbles.

[@stenjerdenius1683]

I heard her tonight as Brynhilde in Siegfried at the Stockholm Opera and I can tell you she is still incredible, at 53 or 54! I cannot understand anyone who critisize her, she is the best Wagnerian soprano in the world. Who is better? We swedes can be proud to have so many outstanding Wagnerian singers.

[@greatmomentsofopera7170]

@@stenjerdenius1683 She is a wobbling mess, and has been for years. Not an ounce of subtlety in her portrayals. Pankratova is an example of a heldesopran who today who is infinitely better.

[@akechijubeimitsuhide]

Yeah, instead of Gutrune chewing the scenery, it would be better to show the burning Valhalla in the background. With all the shadowplay and CGI available today it shouldn't be that hard. But almost every Ring a) fucks up Hagen's death b) has no idea how to fill the time for the rest of the music, even though there is plenty of description in the libretto.

[@neil_1707]

In the actual story, Gudrun saga, Gutrune lives and the world doesn't end until the Nibelungen race vanishes completely.

[@pega17pl]

stage director Kriegenburg meets all fears...

[@nikanorsoter7123]

the best place in the present time opera is behind a pillar

[@Mawrdew]

Nina Stemme deserves a lot better than to have her apotheosis and the grandeur of the Twillight of the Gods reduced to Gutrune on a crying jag and a great big kumbaya group hug. I was thinking of buying tickets to the Ring in Munich in 2018. Now, I'm not so sure.

[@operazine]

Oooh, threats!

[@animesavedmylife3648]

Would someone post the lyrics so I can sing this in public fir laughs?

[@tenorschofield]

She is simply marvelous!!!,one of the best ever dramatic sopranos!!!.Her interpretation comes from inside her soul...BRAVISSIMA!!!

[@archcorenth]

Is it possible to buy this one? As much I love the new Barenboim la Scala DVD's it might be nice to get to see Nina in Gotterdammerung after watching her in Walkure and Siegfried.

[@gerardmignon700]

J'adore Nina, en plus elle, sait ce qu'elle chante. Un avantage sur beaucoup.

[@onotuoedaul]

her crying is making me laugh

[@josephvanbuskirk2093]

and your comments are making me SICK !

[@akechijubeimitsuhide]

This isn't even that wild... suits are pretty much semi-classic these days. At least there are no spaceships, although that set looks like the TARDIS could easily fit in there. Stemme is a goddess.

[@Pywacket2]

What a magnificent artist! Brava! The production on the other hand? Two thumbs down.

[@operassassinOperaAssassin]

Who seems to have graduated from the Dessay Academy of Dramatic Arts. Stemme gives her all however.

[@jordipanadesribera6890]

Grane, my horse... !

[@evavidal-w5z]

Nina's singing: amazing! An exciting electrifying lyric soprano version of Brunnhilde (can also be sung by a high dramatic mezzo soprano if done right). The singing seems anguished, heavy, high, and full of all the Brunnhilde touches I love. She is still really mostly lyric as opposed to the dramatic soprano voice I prefer for Brunnhilde but she is absolutely phenomenal. She is our most recent best interpreter of Wagner heroines. Her Isolde is a class of it's own and set the bar high in the 2000s. PS I hate this production. God Awful don't even know what is going on with the weird bride crying and the groomsmen and bridesmaids offering her comfort. Where is that written in the score and directions by Wagner? What does any of that have to do with the Gotterdammerung end of the gods and the burning of Valhalla the Rhine river flooding and the rhinemaidens getting back their gold. I don't like Euro trash directors doing whatever the F they want to magnificent operas they should leave as is and as was intended by the composers. It's like putting mustaches on Mona Lisa. Stop it.

[@johnb340]

Beautiful! I love Stemme!

[@haddoali]

Gutrune is supposed die of grief just after Gunter dies and so should just lie lifeless. She shouldn't be staggering around like that for ages! The rest of it looks and sounds AMAZING.

[@thomasdahlen2158]

Die Stemme is The best since Birgit Nilsson.The two stars,divas,magnificent singers are swedish.they are from The kingdom of SWEDEN.

[@Altonahh10]

Being Swedish doesn´t necessarily mean being a good opera singer. Stemme has been on a very good path but got distracted by money and the lack of good competition. She is no Hochdramatische and should have stuck to her Fach

[@urbanviii6557]

And what, precisely, is her Fach? I just heard her in Cleveland last April in Tristan & Isolde. A sumptuous evening, all 5 hrs. of it, by the singers and one of the world's finest orchestras.

[@stevewoodland464]

Gutrunes traum.....

[@elsalohengrin7777]

Bravo Frau Stemme! in den Tiefen wie Frau Flagstad, TransportaionderEMOTIONEN IN GEstik und MIMIK AUCH Hervorragend!

[@mk5244]

…Ich wäre vorsichtig mit so einem Vergleich…Gruß!

[@VivaRenata]

On target, Afro.

[@偽のディミトリー]

🔥🔥🔥🔥本火の迫力🔥🔥🔥🔥

[@myanrueller91]

What is going on in this production? Modernize it all you want, I'm sure it would make sense if I'd seen the rest of the opera, but still. This is one of the last Wagner operas I could see with modernized staging and costuming. The characters are too mythical. Just my opinion.

[@adriand6883]

It may be just your opinion, but it's a good opinion and one I share. 🙂

[@rosy3385]

Une magnifique cantatrice que j'admire beaucoup dans tous ses rôles !

[@jamesmorris1657]

So, uh, Gutrune?

[@nispen]

Men in suits, people running around, distraction everywhere. Anything but let the drama speak for itself. Yup, modern opera.

[@Nabellover]

Die beste Götterdämmerung aller Zeiten!!!!!! SUPER!!!!

[@Jaydoggy531]

I have no interest in seeing the production, and it is entirely the fault of the scenic director. If you feel the opera doesn't inspire you to speak for itself, then let someone else do it, and instead promote new operas and plays. If you had any integrity and actually cared about artistic visions and not money, you'd have refused to produce or direct this opera out of principle. But apparently the salt lick was too delicious.

[@theropodia]

The music far outshines the shit ass production.

[@adriand6883]

Oh dear me... The singing, the staging, the acting, the costumes... Stop kidding yourselves, directors. This is really bad!

[@PredatorianStyl]

Musik Top, Inszenierung Flop

[@philipbrace7785]

Nina Stemme's singing and acting are alike magnificent, but Anna Gabler's is very moving, too. Kriegenburg has managed to take The Ring and make it end quite emphatically on a note of hope and redemption, I don't see why he shouldn't give so allegorical a plot such a conclusion, if he wishes. I'd love to see more passages from this production, which I think is totally relevant and inspired.

[@kurbiscremesuppe]

Stemme ist gut wie immer, orchester leider schwach...

[@fraternachash6015]

Not a fan of these types of stagings. What doesn't resonate with people in keeping with the Meister's original intent? This type of "conceptual," self indulgent, pretentious nonsense robs the work of its beauty and grandeur. I ended up closing my eyes to simply enjoy the music. There's worse, but this was pretty smh to me.

[@belcantist]

Schrecklich, was soll das ??? Das ist kein Gesang, sondern etwas undefinierbares......

[@erichmayr7299]

Absolut Ihrer Meinung!!!!

[@quequitoAR]

Totally agreed

[@jonkka3]

God damn how ugly that thing is ....

[@nikodemus7777]

Man sollte Opern nur noch konzertant aufführen, dann muss man sich nicht mehr über solche Inszenierungen aufregen!

[@Altonahh10]

+nikodemus7777 Was ist an dieser Inszenierung denn übel?

[@tristanchord85]

Get Gutrune off the stage! She's incredibly distracting.

[@draganvidic2039]

This is not good singing. Problem is most others are even worse… And how does she sound now? Totally unbearable.

[@robertchester2378]

I'm overwhelmingly embarrassed at these deconstructionist interpretations. Someone please make it stop...

[@casphum5958]

Well, just go buy a DVD of your favorite staging - wich I assume must be rather dull stuff - and then you can watch it over and over again. For people who go to the opera regularly and frequently, and who go to see the same opera in different theaters not just once but maybe 10 or 20 times ore even more (just because they can and they want to) different, new and innovative approaches to the story and unconventional perspectives of stage directors are more than welcome! Of course, sometimes you may not like everything, and you don't have to. But instead of just condemning any interpretation, or as you may call it "regie trash", in general, you should try to get into some intellectual discussion (in case you are capable to have intellectual discussions) about what you didn't like and why, and accept that others may very well do like it. I personally cannot think of anything more dull and stupid than Aida with Elephants on stage during the triumphal march or Walküre with "viking style" helmets with horns attached.

[@nickgresham6480]

'Regieoper' the intention being always to spite The Master by ignoring his costume and stage directions -- or 'critiquing' the drama -- i.e. undermining it from an anti-German angle. Thankfully one can easily annihilate the hideousness by closing one's eyes and focussing on the music - that will always be Holy German Art!

[@operazine]

Could you repeat that, please? I was distracted a bit by your goosestepping.

[@Edwards-Videos]

Robert, I am a traditionalist too. Although I find it thoughtprovoking to see the lady in the wedding dress (Gutrune?) crying on stage at the end - her life has been destroyed - her husband, brother, and half-brother are all dead. She has one left on Earth, literally.

[@dancingshiva7008]

casphum: Seems like my comment struck a nerve! I stand by my statement. No intellectualizations required. No debate. Hardly any discussion. I don't like it. That's it. Besides, you already know why. There's nothing more to say. You have a right to disagree. But your thinly veiled insult of my intellectual capacity speaks more volumes about you than it does me. 🙂 I have nothing to add. Try to relax, and be well in all you put your hands to.

[@ransomcoates546]

Was always bad;got worse.

[@rolandh.dippel2113]

Arme konzertante Unbeholfenheit einer sagenhaften Sängerin, sorry

[@Paulofibonelli]

She is inaudible is it normal for a supposed Wagnerian soprano, horrible

[@Nabellover]

Aus dem Wege gehen sollte man nur Kai Richter und belcantist!!! Hundevideos brigen mich in eine Krise und belcantist´s Videos sind absolut undefinierbarer Amöbengesang...wenn man nichts von der Sache versteht sollte man unqualifizierte Kommentare unterlassen!

[@quequitoAR]

I won't comment the staging since I didn't get pass half the video. Stemme seems committed, but her voice, her bad technique... People believe Wagner is pure howling, hence the praising for this... thing.

[@tobiaspeter6555]

Stupid, unimaginative production

[@melisandedebussy]

Excelente stemme, excelente rendición