Copyright: Dagmar Medina (Photographer)

Der Ring des Nibelungen – Royal Opera House Covent Garden (Rezensionen)

Vorstellungen:

SIEGFRIED: 29. September, 7. Oktober, 21. Oktober und 31. Oktober
GÖTTERDÄMMERUNG: 1. Oktober, 9. Oktober, 24. Oktober und 2. November

Stefan Vinke als Siegfried (C) ROH 2018. Photographed by Bill Cooper

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Bachtrack von David Karlin (Siegfried)

A fantastic tale, an outstanding cast: Siegfried at the Royal Opera

...Who would choose to be Siegfried to Stemme’s Brünnhilde? To spend five hours forging swords, slaying dragons, disposing of evil dwarves and disarming gods, all at the highest level of vocal exertion, only to be forced to compete with someone who has just woken up and given out a powerhouse performance like that? The answer: Stefan Vinke, who didn’t seem remotely fazed. For most tenors, Siegfried is a brattish teenager, an oafish braggart whose superhuman strength is matched to the brain of a newt. Many simply won’t touch the role (apart from anything else, the sustained high tessitura is punishing). But Vinke clearly loves the role: he bounds about the stage, radiating youthful exuberance and enthusiasm to a point that you can’t help but find him endearing. And the voice is unforced, blithely lilting its way through high powered passages as if this were the easiest thing in the world. The sword forging scene was one of the most powerful passages of opera I’ve ever seen, Vinke’s exuberance blending with staggeringly high octane stuff from the orchestra. Audience members could be seen punching the air at the hammer blows...

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Bachtrack von David Karlin (Götterdämmerung))

Milling’s powerful Hagen drives a dramatic Royal Opera Götterdämmerung

...Brünnhilde has clearly taught Siegfried some manners during their time on the rock, since the Stefan Vinke who sets off down the Rhine has gained a degree of gravitas and become almost cultured – I think I liked him better as a boisterous teenager...

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Evening Standard von Barry Millington

Siegfried/Götterdämmerung review: Dramatic detail gives greater force to the music

...Highlights of the third opera include the subtle delineation of the relationship between the young Siegfried (Stefan Vinke, who sings the role more intelligently than ever) and his foster-father, Mime (the excellent Gerhard Siegel), and the many comic touches...

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Express von William Hartston

Opera review: Wagner’s Ring – Fifteen hours of glorious music

...German tenor Stefan Vinke is superb as the hero Siegfried...

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Music OMH von Sam Smith

Siegfried @ Royal Opera House, London

...The interaction between Stefan Vinke’s Siegfried and Gerhard Siegel’s Mime is aided by the fact that both also played their parts in the previous revival in 2012. There is, for example, a wonderful moment when Siegfried in between his hammer blows to forge Nothung leans over to strike the lid of a container that Mime needs opening in order to prepare his brew. The various tools that lie around help to show how Siegfried is entirely re-forging the sword, as simply fixing it is as impossible as the gods retaining power by patching up the world as it currently exists. However, this point is undermined by Siegfried putting a hose to the plane to obtain fuel for the fire that he needs, because this implies that he is drawing from the gods in his endeavours.

Siegel, who has played Mime in this production since day one, is on top form, as is Vinke whose voice demonstrates almost superhuman levels of robustness and consistency over such a big sing...

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Opera Today von Marc Bridle

Covent Garden: Wagner’s Siegfried, magnificent but elusive

...Stefan Vinke’s Siegfried is simply peerless. Casting Siegfried is always a problem but Vinke has everything you could ask for in a great Siegfried. Certainly, when I heard him take on the part early in his career there were times you felt he lacked the stamina to see it through; that is unquestionably not the case today. That he had such reserves of power to give with Stemme such an overwhelming final duet was remarkable. So much of Siegfried lies in the higher part of the voice that it’s easy for a tenor to become lazy but Vinke has a laser-sharp power to his upper range which enables him to sustain a note effortlessly. Nothing felt clipped; you didn’t feel that there were any shortcuts. There is also beautiful clarity and tonal richness to this voice as well - it’s honeyed, golden, entirely even for a Wagner tenor. I think I’d be hard pressed to hear a better performance of Siegfried from anyone else than the one we got here...

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The Spectator von Richard Bratby

I genuinely liked Siegfried – which almost never happens: Royal Opera's Ring cycle reviewed

...That might have had something to do with Stefan Vinke in the title role, and if there’s one performance to take away from this cycle it’d be his: no Teutonic he-man, but an awkward, impulsive boy who — in an eerily tender moment with Mime (Gerhard Siegel) — was innocent enough to reveal his own vulnerability. He’s genuinely likeable. Vinke’s playful banter with the Woodbird (Heather Engebretson) prompted unforced laughter from the audience.

The effect is transformative. This Siegfried really is the ‘laughing hero’; the ‘bright-eyed youth’ that Wagner imagined, and who we almost never get. Does it matter that he doesn’t sound like a conventional Heldentenor? Vinke’s dusky middle-register could certainly open out when required. The point was that you didn’t need this compassionate Siegfried to be belting away the whole time. His appeal to Brünnhilde and the ease with which he was destroyed by the Gibichungs made equal dramatic sense. ‘I will only be happy when the person who gets the loudest applause is the person who has acted best, who has shown the character in the truest way, not the person with the best voice,’ said Warner, quoting Wagner, back when this production was fresh. As Wotan says, today you have seen it happen...

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What's on Stage von Mark Valencia

Review: Siegfried (Royal Opera House)

Episode three of Wagner's Der Ring des Nibelungen at Covent Garden

...Stefan Vinke shoulders the prodigious title role with an assurance born of long experience. The German Heldentenor has sung 100 Siegfrieds in little more than decade, yet his voice is still in prime condition even though he carries the lengthy drama on his shoulders. His relationship with the fragile, stratospheric Woodbird of Heather Engebretson is an especially touching partnership of opposites...

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Besetzung (Siegfried)
Regie Keith Warner
Bühnenbildner Stefanos Lazaridis
Kostümbildnerin Marie-Jeanne Lecca
Lichtdesigner Wolfgang Göbbel
Original movement director Claire Glaskin
Video designers Mic Pool and Dick Straker
Associate set designer Matthew Deely
Dirigent Antonio Pappano
Siegfried Stefan Vinke
Brünnhilde Nina Stemme
Mime Gerhard Siegel
Wanderer John Lundgren
Alberich Johannes Martin Kränzle
Fafner Brindley Sherratt
Erda Wiebke Lehmkuhl
Waldvogel Heather Engebretson
Orchestra of the Royal Opera House
Besetzung (Götterdämmerung)
Dirigent Antonio Pappano
Siegfried Stefan Vinke
Brünnhilde Nina Stemme
Gunther Markus Butter
Hagen Stephen Milling
Gutrune Emily Magee
Waltraute Karen Cargill
Alberich Johannes Martin Kränzle
Erste Norn Claudia Huckle
Zweite Norn Irmgard Vilsmaier
Dritte Norn Lise Davidsen
Woglinde Lauren Fagan
Wellgunde Christina Bock
Flosshilde Angela Simkin
Royal Opera Chorus
Orchestra of the Royal Opera House