Drücken

Vocally, it was a very great evening, especially since neither performances nor recordings with a cast that is outstanding in all parts have really done justice to this opera so far. Once again, she had already thrilled with it in Berlin over ten years ago, Ricarda Merbeth as Helena showed her singular position in the Strauss repertoire, especially in roles with such uncomfortable and demanding tessitura. The Second Bridal Night alone, with its sheer endless passages at the most exposed pitch, offered an example of the highest vocal artistry, perfect technique and physical robustness. In the shining world ending, which stretched over ten bars, her soprano clearly soared to high C-sharp with a luminous jubilant tone, and without any sharpness or vocal colouration, the performance seemed effortless. It is almost regrettable that she will be devoting most of her time to the Wagner repertoire in the near future.