Two words to make your blood run cold: orchestral highlights. Why did Daniele Gatti feel the need to slice up bits of Götterdämmerung for a journey from Romantic to Modern? I don’t think it worked and simply served as an exercise in editorial and programmatical incoherency. I love every last note of the big G, but it is disrespectful, pointless and misleading to present bombastic highlights. After the earth-shattering (or earth-ending/renewing) performances from Opera North this summer, I was upset to see this slightly silly presentation - even if conducted well.
I suppose a critique of this would be that concert performances achieve a horizontal (if you like) equivalent of the vertical separation of Gesamtkunstwerk which concert performances achieves by splitting the acoustic from the visual and kinetic.
After all that I am settling down with Mark Berry’s Treacherous Bond and Laughing Fire: Politics and Religion in Wagner’s Ring (Ashgate, 2006).