Sofia / National Opera and Ballet
30.06.2025 / Oper international
Trapped between the light, pain and love, “Die Walküre” spreads the wings of emotion of the Sofia “Ring”.
At the edge of the cosmos where light and guilt meet, the Wagner world theater continued on 29.06.2025 at the Sofia Opera with “Die Walküre”: the piece which dwells on the most human side of the mythological Nordic gods. After the symbolic interlude of “Das Rheingold” which sounded like a primal cry in the darkness of creation, another space was revealed: warmer, more painful and pierced by love sacrifices. The metaphysical gave way to intimacy and myth: to emotion. Plamen Kartaloff’s directorship made this transition tangible through images which not only told stories but also remembered, searched and broke the mold.
An unsettling intensity reigned at the beginning of the performance: during the famous storm scene, the curtain was only partially raised, showing the feet of men and women quickly running about. There was no heroic appearance but the one of a fugitive: Siegfried appeared, wounded, out of breath and hunted by unseen foes. A moment of soul-shattering physicality which foreshadowed the existential depth of the performance. Here, as well as in “Das Rheingold”, Kartaloff uses the impression of memories and not imagery: a scenic flow of the consciousness between dreams and history. The entire space was not just a stage but a memory full of figures which visually represented the story being told as remnants of a dream, a part of an unaware collective memory. While Sigmund told his story, the faces of the ones he had lost appeared. While Wotan was talking, his young self appeared in the shadows: images of his past drenched in the flames of his former hubris. These were deeply impactful moments: they didn’t explain what was happening, you could feel it.
Hans Kudlich’s scenography varied, both symbolically and emotionally. In act I, a stylized triangle shaped hut dominated the stage, connected to the stage space through a bridge: a crossroads between defense and isolation. In act II and III, again the shape of a tri-scale appeared, just like in “Das Rheingold” but differently positioned. At times, it resembled a labyrinth or a flaming barrier: Wotan’s trap, and Brunhilde’s fiery circle.
The visual concept followed the color scheme of “Das Rheingold”: a blue-tinted loneliness dominated the stage. Brunhilde’s appearance in act II was impressive: on the steed Grane, a fiery look in her eyes, she didn’t make a thunderous appearance striking fear into the protagonists’ hearts but as an embodiment of solemn decisiveness.
Andrew Haidinyak created an imagery of light through refined expressiveness: each ray of light had an emotional texture to it.
Evan-Alexis Christ and the Sofia Opera orchestra delivered a structurally clear and dramaturgically precise score. It didn’t illustrate but told a story through music, with deep emotion and understanding of drama as well as flexibility in all tempos. Especially impressive was the death reveal scene: it was filled with inner fire and harps weaved a silver veil over the orchestra’s pain. “The Flight of the Valkyries” was dynamic but not too loud and during the confrontation between Wotan and Brunhilde the orchestra spoke with a gentle breath and an inner conflict. The woodwind instruments had an impressionistic melancholic sound while the French horns and the Wagner tubas carried a bronze weight to them.
The double-basses added existential depth.
Lead singers:
Martin Iliev (Sigmund): not a hero or a ruffian but a vulnerable man, firm in his love. His voice was warm, flexible, with a metallic notion to it, especially during “Winter storms”. An exceptionally strong performance.
Tsvetana Bandalovska (Sieglinde): her voice had a soft glow to it while her acting conveyed trauma and passion. Her exclamation during the sword scene was a cathartic moment. She had become one with her role.
Bjartni Thor Cristinsson (Hunding): a dark, granite bass. Not a villain with a booming voice but a symbol of archaic order.
Thomas Hall (Wotan): an impressive and stable voice which at times lacked dramatic depth. His “Forgive me” was modest but beautifully performed.
Gergana Rusekova (Brunhilde): the emanation of true honesty. Her voice was crystal clear during the high notes and had a warm core. During “Todesankung”, it shone as bright as a flame. Dynamic, emotionally captivating. Excellent diction.
The Valkyries:
The eight artists (among which were Stanislava Momekova, Silvia Teneva, Lyubov Metodieva etc.): an impressive vocal and stage presence, dressed in bright red costumes and in Riolina Topalova’s choreography. A balance between wildness and precision: there were vivid applause after their performance.
The audience met “Die Walküre” with deep concentration and had an emotional experience. After the last scene: Brunhilde engulfed in light and flames, long ovations and “Bravo!” shouts followed, addressed at Plamen Kartaloff and at all performance participants.
This production wasn’t just a continuation of “Das Rheingold” but the heart of the tetralogy; its emotional center, ripe with unadulterated musical and stage energy. A score which creates and destroys worlds.
