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The Orc Aggra in her role as Brünnhilde in Richard Wagner’s “Der Ring des Nibelungen“ in Bayreuth Germany, Friday, Oct. 20, 2023. The Brünnhilde’s Immolation scene from an all Orc all-orc cast and orchestra production. (AP Photo/ MidJo Urney)

Brünnhilde’s Immolation Scene from “Götterdämmerung> youtu.be/Mh4mOAmuje4

A Ring of Fire and Fury: Orcs Take on Wagner in Bayreuth
By Ghee P. Tchat. Special to The New York Times, 20 October 2023

BAYREUTH, Germany — It was a bold and unprecedented move: to stage Richard Wagner’s epic cycle “Der Ring des Nibelungen” with an all-orc cast and orchestra, in the composer’s own theater, the Bayreuth Festspielhaus. The four operas, which tell the saga of the gods, heroes, and monsters who vie for a cursed ring of power, were performed in one continuous marathon, lasting 16 hours, from dawn to dusk.

The result was a stunning and visceral spectacle that challenged the conventional notions of beauty, art, and humanity. The orcs, a race of brutish and warlike creatures from J.R.R. Tolkien’s fantasy world of Middle-earth, brought a raw and savage energy to Wagner’s music and drama, unleashing primal screams, guttural chants, and ferocious dances. The orcish instruments, made of bones, skins, and metal, produced a harsh and dissonant sound that contrasted with the lush and lyrical score.

The director, Grommash Hellscream, a former warlord and chieftain of the Warsong clan, said he wanted to present a different perspective on Wagner’s work, which has often been associated with racism, nationalism, and fascism. “We orcs have been misunderstood and maligned by humans for too long,” he said in an interview before the performance. “We have our own culture, our own history, our own values. We are not evil or savage. We are proud and honorable. We have suffered oppression and genocide at the hands of humans. We have a right to tell our story.”

Hellscream said he chose “Der Ring des Nibelungen” because he saw parallels between the orcs and the Nibelungs, the race of dwarves who forged the ring and were enslaved by the gods. “They are both victims of greed and injustice,” he said. “They both seek revenge and liberation. They both have a connection to nature and magic.”

The cast was led by Thrall, the former warchief of the Horde and the founder of the nation of Durotar, who sang the role of Siegfried, the hero who slays the dragon Fafner and wins the ring. Thrall’s voice was powerful and resonant, but also tender and expressive. He conveyed Siegfried’s courage, curiosity, and innocence with charm and charisma.

The role of Brünnhilde, the valkyrie who falls in love with Siegfried and sacrifices herself to redeem the world from the ring’s curse, was sung by Aggra, Thrall’s wife and a shaman of the Earthen Ring. Aggra’s voice was rich and warm, but also fiery and defiant. She portrayed Brünnhilde’s passion, loyalty, and wisdom with grace and dignity.

The other roles were sung by prominent orcish leaders, warriors, and artists, such as Grommash Hellscream (Wotan), Garrosh Hellscream (Hagen), Draka (Fricka), Durotan (Alberich), Orgrim Doomhammer (Siegfried), Blackhand (Fafner), Gul’dan (Mime), Ner’zhul (Erda), Rend Blackhand (Gunther), Zul’jin (Loge), Kilrogg Deadeye (Donner), Kargath Bladefist (Froh), Cho’gall (Fasolt), Rexxar (Fafnir), Sylvanas Windrunner (Gutrune), Cairne Bloodhoof (Volker), Baine Bloodhoof (Hunding), Vol’jin (Woglinde), Chen Stormstout (Wellgunde), Rokhan (Flosshilde), Thrall’s mother (Sieglinde), Thrall’s father (Siegmund), Thrall’s son (Young Siegfried).

The production was minimalist and modern, using projections, lighting effects.

A Ring of Mixed Emotions: How the Audience Reacted to the Orcish Wagner in Bayreuth
By Ghee P. Tchat, Special to The New York Times, 20 October 2023

BAYREUTH, Germany — It was a historic and controversial event: the first ever performance of Richard Wagner’s epic cycle “Der Ring des Nibelungen” with an all-orc cast and orchestra, in the composer’s own theater, the Bayreuth Festspielhaus. The four operas, which tell the saga of the gods, heroes, and monsters who vie for a cursed ring of power, were performed in one continuous marathon, lasting 16 hours, from dawn to dusk.

The audience, which consisted of about 2,000 people from various backgrounds and countries, had different and often conflicting reactions to the orcish rendition of Wagner’s work. Some were curious and open-minded, some were skeptical and critical, some were enthusiastic and supportive, and some were outraged and offended. What everybody could agree on that it was a performance not to be forgotten.

Some of the audience members who attended the performance shared their opinions and impressions with The New York Times.

“I thought it was a brilliant and daring experiment,” said Anna Müller, a 35-year-old music teacher from Berlin. “I was amazed by the orcish singers and musicians. They had such powerful and expressive voices and instruments. They brought a new dimension and interpretation to Wagner’s music and drama. They made me see the story from a different angle. I was moved by their passion and emotion.”

“I was disappointed and bored,” said David Smith, a 42-year-old lawyer from London. “I was expecting to hear Wagner’s beautiful and majestic music, but instead I heard a lot of noise and chaos. The orcs had no sense of melody or harmony. They ruined Wagner’s score with their discordant and distorted sound. They made me lose interest in the story. I was annoyed by their aggression and violence.”

“I was impressed and inspired,” said Li Wei, a 28-year-old student from Beijing. “I was fascinated by the orcish culture and history. They had such rich and diverse traditions and values. They showed me a different aspect of Wagner’s work, which is often associated with racism and fascism. They challenged the stereotypes and prejudices that humans have about them. I was touched by their courage and dignity.”

“I was disgusted and offended,” said Jean-Pierre Dubois, a 52-year-old journalist from Paris. “I was horrified by the orcish appearance and behavior. They had such ugly and grotesque features and movements. They desecrated Wagner’s theater, which is a sacred place for his fans. They mocked the ideals and morals that humans have about them. I was appalled by their disrespect and blasphemy.”

Critical Reviews varied:
“The orcs have done it again. They have taken Wagner’s monumental masterpiece and turned it into a spectacle of blood, fire, and thunder. The singers, clad in leather and metal, delivered powerful performances that matched the intensity of the music. The orchestra, led by the charismatic orc conductor Grommash Hellscream, played with precision and passion. The staging, with its elaborate sets and pyrotechnics, was a feast for the eyes. The orcs have proven that they are not only fierce warriors, but also formidable artists.” [The Orcish Oracle ]

“It was a travesty, a desecration, a mockery of Wagner’s genius. The orcs, with their coarse voices and crude manners, butchered the sublime music and the noble story. The orchestra, with its harsh sounds and erratic tempos, made a mockery of the score. The staging, with its vulgar and violent scenes, offended the sensibilities of the audience. The orcs have shown that they are not fit to perform Wagner’s works, let alone in his sacred temple.” [Der Spiegel]

“It was a mixed bag, a curious experiment, a daring venture. The orcs, with their distinctive vocal timbres and physical presence, brought a fresh perspective to Wagner’s characters and themes. The orchestra, with its rich sonorities and dynamic contrasts, captured the drama and the beauty of the music. The staging, with its imaginative and innovative effects, created a vivid and immersive experience. The orcs have demonstrated that they are willing to take risks and challenge conventions in their artistic endeavors.” [Elvish Times]

MidJournery AI Art - Newspaper Articles by GPT-4 Chat

Drawtober#20 - Orc, 20 Oct 2023

Description

The Orc Aggra in her role as Brünnhilde in Richard Wagner’s “Der Ring des Nibelungen“ in Bayreuth Germany, Friday, Oct. 20, 2023. The Brünnhilde’s Immolation scene from an all Orc all-orc cast and orchestra production. (AP Photo/ MidJo Urney)

Brünnhilde’s Immolation Scene from “Götterdämmerung> youtu.be/Mh4mOAmuje4

A Ring of Fire and Fury: Orcs Take on Wagner in Bayreuth
By Ghee P. Tchat. Special to The New York Times, 20 October 2023

BAYREUTH, Germany — It was a bold and unprecedented move: to stage Richard Wagner’s epic cycle “Der Ring des Nibelungen” with an all-orc cast and orchestra, in the composer’s own theater, the Bayreuth Festspielhaus. The four operas, which tell the saga of the gods, heroes, and monsters who vie for a cursed ring of power, were performed in one continuous marathon, lasting 16 hours, from dawn to dusk.

The result was a stunning and visceral spectacle that challenged the conventional notions of beauty, art, and humanity. The orcs, a race of brutish and warlike creatures from J.R.R. Tolkien’s fantasy world of Middle-earth, brought a raw and savage energy to Wagner’s music and drama, unleashing primal screams, guttural chants, and ferocious dances. The orcish instruments, made of bones, skins, and metal, produced a harsh and dissonant sound that contrasted with the lush and lyrical score.

The director, Grommash Hellscream, a former warlord and chieftain of the Warsong clan, said he wanted to present a different perspective on Wagner’s work, which has often been associated with racism, nationalism, and fascism. “We orcs have been misunderstood and maligned by humans for too long,” he said in an interview before the performance. “We have our own culture, our own history, our own values. We are not evil or savage. We are proud and honorable. We have suffered oppression and genocide at the hands of humans. We have a right to tell our story.”

Hellscream said he chose “Der Ring des Nibelungen” because he saw parallels between the orcs and the Nibelungs, the race of dwarves who forged the ring and were enslaved by the gods. “They are both victims of greed and injustice,” he said. “They both seek revenge and liberation. They both have a connection to nature and magic.”

The cast was led by Thrall, the former warchief of the Horde and the founder of the nation of Durotar, who sang the role of Siegfried, the hero who slays the dragon Fafner and wins the ring. Thrall’s voice was powerful and resonant, but also tender and expressive. He conveyed Siegfried’s courage, curiosity, and innocence with charm and charisma.

The role of Brünnhilde, the valkyrie who falls in love with Siegfried and sacrifices herself to redeem the world from the ring’s curse, was sung by Aggra, Thrall’s wife and a shaman of the Earthen Ring. Aggra’s voice was rich and warm, but also fiery and defiant. She portrayed Brünnhilde’s passion, loyalty, and wisdom with grace and dignity.

The other roles were sung by prominent orcish leaders, warriors, and artists, such as Grommash Hellscream (Wotan), Garrosh Hellscream (Hagen), Draka (Fricka), Durotan (Alberich), Orgrim Doomhammer (Siegfried), Blackhand (Fafner), Gul’dan (Mime), Ner’zhul (Erda), Rend Blackhand (Gunther), Zul’jin (Loge), Kilrogg Deadeye (Donner), Kargath Bladefist (Froh), Cho’gall (Fasolt), Rexxar (Fafnir), Sylvanas Windrunner (Gutrune), Cairne Bloodhoof (Volker), Baine Bloodhoof (Hunding), Vol’jin (Woglinde), Chen Stormstout (Wellgunde), Rokhan (Flosshilde), Thrall’s mother (Sieglinde), Thrall’s father (Siegmund), Thrall’s son (Young Siegfried).

The production was minimalist and modern, using projections, lighting effects.

A Ring of Mixed Emotions: How the Audience Reacted to the Orcish Wagner in Bayreuth
By Ghee P. Tchat, Special to The New York Times, 20 October 2023

BAYREUTH, Germany — It was a historic and controversial event: the first ever performance of Richard Wagner’s epic cycle “Der Ring des Nibelungen” with an all-orc cast and orchestra, in the composer’s own theater, the Bayreuth Festspielhaus. The four operas, which tell the saga of the gods, heroes, and monsters who vie for a cursed ring of power, were performed in one continuous marathon, lasting 16 hours, from dawn to dusk.

The audience, which consisted of about 2,000 people from various backgrounds and countries, had different and often conflicting reactions to the orcish rendition of Wagner’s work. Some were curious and open-minded, some were skeptical and critical, some were enthusiastic and supportive, and some were outraged and offended. What everybody could agree on that it was a performance not to be forgotten.

Some of the audience members who attended the performance shared their opinions and impressions with The New York Times.

“I thought it was a brilliant and daring experiment,” said Anna Müller, a 35-year-old music teacher from Berlin. “I was amazed by the orcish singers and musicians. They had such powerful and expressive voices and instruments. They brought a new dimension and interpretation to Wagner’s music and drama. They made me see the story from a different angle. I was moved by their passion and emotion.”

“I was disappointed and bored,” said David Smith, a 42-year-old lawyer from London. “I was expecting to hear Wagner’s beautiful and majestic music, but instead I heard a lot of noise and chaos. The orcs had no sense of melody or harmony. They ruined Wagner’s score with their discordant and distorted sound. They made me lose interest in the story. I was annoyed by their aggression and violence.”

“I was impressed and inspired,” said Li Wei, a 28-year-old student from Beijing. “I was fascinated by the orcish culture and history. They had such rich and diverse traditions and values. They showed me a different aspect of Wagner’s work, which is often associated with racism and fascism. They challenged the stereotypes and prejudices that humans have about them. I was touched by their courage and dignity.”

“I was disgusted and offended,” said Jean-Pierre Dubois, a 52-year-old journalist from Paris. “I was horrified by the orcish appearance and behavior. They had such ugly and grotesque features and movements. They desecrated Wagner’s theater, which is a sacred place for his fans. They mocked the ideals and morals that humans have about them. I was appalled by their disrespect and blasphemy.”

Critical Reviews varied:
“The orcs have done it again. They have taken Wagner’s monumental masterpiece and turned it into a spectacle of blood, fire, and thunder. The singers, clad in leather and metal, delivered powerful performances that matched the intensity of the music. The orchestra, led by the charismatic orc conductor Grommash Hellscream, played with precision and passion. The staging, with its elaborate sets and pyrotechnics, was a feast for the eyes. The orcs have proven that they are not only fierce warriors, but also formidable artists.” [The Orcish Oracle ]

“It was a travesty, a desecration, a mockery of Wagner’s genius. The orcs, with their coarse voices and crude manners, butchered the sublime music and the noble story. The orchestra, with its harsh sounds and erratic tempos, made a mockery of the score. The staging, with its vulgar and violent scenes, offended the sensibilities of the audience. The orcs have shown that they are not fit to perform Wagner’s works, let alone in his sacred temple.” [Der Spiegel]

“It was a mixed bag, a curious experiment, a daring venture. The orcs, with their distinctive vocal timbres and physical presence, brought a fresh perspective to Wagner’s characters and themes. The orchestra, with its rich sonorities and dynamic contrasts, captured the drama and the beauty of the music. The staging, with its imaginative and innovative effects, created a vivid and immersive experience. The orcs have demonstrated that they are willing to take risks and challenge conventions in their artistic endeavors.” [Elvish Times]

MidJournery AI Art - Newspaper Articles by GPT-4 Chat

Drawtober#20 - Orc, 20 Oct 2023