How the Eurovision âfloaty polesâ solved a thorny operatic problem
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As the first chapter of Wagnerâs monumental Ring opera cycle begins, deep E flat chords throb and flow: musical currents that plunge us instantly to the depths of the river where the Rhinemaidens guard their gold.
To director Suzanne Chaundy, whose
Das Rheingold for Melbourne Opera opens this month, the scene is a wonderful challenge. The musical instruction is insistent: take us to another world. How do you tackle it on a wooden stage in a theatre?