The two cuts I didn't like were a) they cut Siegmund talking about how his father had promised him a sword, which made Fricka's assertion of the same a little later sound a bit weird,
Also, it robs the Siegmund singer of one of the showcases for Wagner tenors, the "Wälse!" cries. I mean, they can't all be Lauritz Melchior who made this one of his signature pieces, but still...
What did become of Hunding if Wotan didn't dismiss him from life with "GEH!"? Did he just slink off stage?
Other than that, it does sound like a compelling production. I would agree that the Wotan & Brünnhilde relationship is at the heart not just of this opera but arguably of the Ring, though I would also argue both Siegmund and Sieglinde are the most sympathetic human characters, much more so than their son, and that any good production of Die Walküre must have therefore good Sieglindes and Siegmunds as well.
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The two cuts I didn't like were a) they cut Siegmund talking about how his father had promised him a sword, which made Fricka's assertion of the same a little later sound a bit weird,
Also, it robs the Siegmund singer of one of the showcases for Wagner tenors, the "Wälse!" cries. I mean, they can't all be Lauritz Melchior who made this one of his signature pieces, but still...
What did become of Hunding if Wotan didn't dismiss him from life with "GEH!"? Did he just slink off stage?
Other than that, it does sound like a compelling production. I would agree that the Wotan & Brünnhilde relationship is at the heart not just of this opera but arguably of the Ring, though I would also argue both Siegmund and Sieglinde are the most sympathetic human characters, much more so than their son, and that any good production of Die Walküre must have therefore good Sieglindes and Siegmunds as well.