War horse

Les Troyens is on this evening, relayed from the New York Met. Caroline and I went along to our local cinema at 5 o'clock, plus picnic, ready for the five-hour big screen session; but by mutual agreement we came away at the first interval. After eating the picnic round our kitchen table, I find I'm much happier listening to Berlioz in the warmth of my study.

In the 'Sixties, I was an avid fan of this composer: Benvenuto Cellini with Nicolai Gedda was one of my earliest experiences of opera at Covent Garden; and three of us drove specially to Edinburgh in May 1969 to hear Janet Baker sing Dido in Scottish Opera's Trojans. This evening, though, in Cineworld I was bored. Was it the production, the singing or the music? Perhaps a combination of all three.

The ghost of Hector's appearance in a puff of pantomime smoke, stock still and dressed in white on top of a cave, with Aeneas kneeling below, brought the Grotto at Lourdes awkwardly to mind. Deborah Voigt as usual seemed unable to stop smirking, unfortunate when you're playing Cassandra.

Yesterday, we came to the end of the Radio 3's relay of the Ring Cycle in 10 instalments (a recording of the Covent Garden production last Autumn). As then, I listened to pretty well every bar; and that probably explained why tonight's rumpty-tum Berlioz left me squirming on my cinema seat.

"Götterdämmerung"

I waxed lyrical about an opera set last May: it was after seeing the Met. relay of Robert Lepage's production of Die Walküre. That same set is naturally used for Lepage's new Met. Götterdämmerung: it came to us in our local Cineworld by the same magical means last evening, but I found myself less inclined to enthuse. Indeed, the gyrations of what look like so many giant Kit-Kat pieces (sometimes more resembling magnified USB sticks) made me dizzy, and distracted me from the all-important transition passages played luminously by the Met. Opera Orchestra under Fabio Luisi. This techno solution to the Ring staging worked well for the Ride of the Valkyries, each of the sisters mounted on her own piece of Kit-Kat. Last night however, we were given a pseudo-realistic Grane - the first attempt at a proper-looking Valkyre horse I think I have ever witnessed. Deborah Voigt as Brünnhilde even climbs aboard as Siegfried's pyre is lit - but do we see them gallop (even trot) into the flames? No.

I have no hesitation, however, about either the singing or the acting, which were uniformly excellent. The Act 1, Scene 3 duet between Voigt and the legendary Waltraud Meier will remain long in my memory. If forced to choose amongst the rest of the cast, I might - perhaps surprisingly - single out Iain Paterson as Gunther. My photograph shows a curtain call at the first night of a very different Götterdämmerung: Phyllida Lloyd's excellent Coliseum production eight years ago, conducted by Paul Daniel. And the Gunther, alongside the mighty, pocket-battleship Brünnhilde, Kathleen Broderick? Iain Paterson.

Alberich's theft is a sin against the integrity of creation; but so is Wotan's cutting into the world ash tree, to make for himself a world-dominating spear: both actions upset the balance of what was ever a sustainable world order. Rather like us, exhausting fossil fuels and destroying the rain forest?

High definition performance

Not only do we have a Spanish señorita staying at the moment, but a Swiss mister too. Paulo, employed by Nespresso and notwithstanding his name from the French-speaking part of his country, is here for a fortnight’s intensive work with Caroline on his English. The Japanese in particular are fabled present-givers, but nobody has ever arrived laden with so many gifts as Paolo, generous man. And game too: we were booked in to the Met. live relay of Die Walküre yesterday: “May I join you?” he asked – not having any previous opera-going experience, still less any experience of grappling with Wagner’s Ring.

Happily, Robert Lepage’s new production (costing upwards of $16m) could not be clearer for the viewer: it is in fact outstanding in all respects, with a stunning set: a simple concept, but fiendishly complicated technically – the start was delayed half an hour as computers were sorted out, so we learnt. It’s always a worry that such a delay might mean one of the stars is struggling to be fit.

That was no problem yesterday: all six principals were in geat voice. Though Deborah Voigt’s Brünnhilde is never going to be to my taste, all the others are perfectly suited to their parts, with Bryn Terfel the most human of Wotans, and his stage wife (the superb Stephanie Blythe) the most statuesque. During Die Walküre, there is always a heart-rending moment, depending on the performance: last night, it was Eva-Maria Westbroek’s O hehrstes Wunder! which made the hair at the back of my neck stand up. The conductor was Jemes Levine, clearly in considerable discomfort: I had no desire for 3D, but do wish we had had surround sound: the Roses Theatre, Tewkesbury doesn’t run to that.

"Why does it need to be so long?" asks Caroline. Something of an answer to this is given by Alex Ross in his recent New Yorker article: "Ultimately, the bond Wagner forms with his listeners is one of pure, wordless emotion, and his gift for capturing the nuances of human feeling constantly complicates our response." This takes time.

Earlier in the day, we had enjoyed a different sort of theatrical experience, champagne breakfast with kind friends who were staying at the new Ellenborough Park Hotel in nearby Southam. No expense has been spared there either.

I spotted that today is the third anniversary of this blog. Can I really have been retired so long?