It doesn't get much scarier than Wagner and Stockhausen. Photograph: BBC Pictures.
Prom 11 – Stockhausen (Jeffrey Skidmore)
Prom 15 –Wagner (Daniel Barenboim)
Royal Albert Hall, London SW7
As musical ghouls-under-the-bed go, it doesn’t get scarier than Wagner (too long) and Stockhausen (too complicated). Yet if ever there’s been a time to face those fears, it was last month at the BBC Proms. Music-making of exceptional, ecstatic virtuosity made urgent what is too often academic, dissolving terrors and challenging us to find difficulty amid so much joy.
There’s an elegant symmetry in how Wagner’s Ring and Stockhausen’s Licht have ended up in dialogue at this year’s Proms. Both monumental opera cycles, composed over almost 30 years, span the gamut of human experience and emotion, not to mention many hours. The Proms are a festival made for larger-than-life works. Even as the Royal Albert Hall’s acoustics can so bafflingly defeat a musical classic, they can also amplify a problem piece, generating a spatial drama that can’t be matched anywhere else.
This was certainly true of Stockhausen’s “Gesang der Jünglinge” on 19 July. An early foray into electronic music, the work was projected (rather than performed) from a mixing desk at the centre of the hall by the composer’s protégée Kathinka Pasveer, while the stage remained empty. To make the stolid, Victorian hulk of this venue disquieting is almost impossible, but as the ghostly sound of choristers from Cologne Cathedral, recorded in the 1950s, echoed from empty galleries all around us, the sense of the uncanny was palpable in the physical vibrations of the speakers set up around the hall to transmit Stockhausen’s soundscape. Immersed in the voices of trebles who are no longer boys, we felt a dated technological exercise become something altogether richer.
This was just the warm-up for “Welt-Parlament” – the opening scene of Mittwoch, one of the seven operas that make up Licht. Last year, it was performed complete with actual helicopters and camels (each opera has a web of associated symbols, including elements – air, in this case – and animals) in Birmingham. The extract staged at the Royal Albert Hall maintained its energy in concert.
In a high tower, a UN-type assembly debated the nature of love in surreal, often deliberately incomprehensible fashion. The excellent Ex Cathedra choir’s voices, divorced from humanity by the use of microphones, did battle with the hollow babble of metro - nomes. The sound was less about melody or harmony than it was a woven texture, through which moments of lyricism occasionally burst (the tenors’ odd paean to love, a solo soprano’s pirouetting coloratura). It was music at the edge of its definition but, under Jeffrey Skidmore’s understated direction, the choir and soloists found both beauty and wit among the abstraction.
There is nothing abstract about Wagner’s Ring cycle, an epic folk narrative spread across four nights of opera. The composer’s concept of Gesamtkunstwerk (“total art”) is in direct conflict with a semi-staging such as Justin Way’s but, with this cast, the drama’s all in the music.
Whatever his weaknesses, Daniel Barenboim is among the finest living Wagnerians. With a hand-picked cast and the Staats - kapelle Berlin orchestra, he is perhaps the finest. At the performance of Die Walküre on 23 July, the orchestra’s strings swelled thickly and its brass had a sheen, even at fortissimo, to rival the glint of the Nibelungen gold. Barenboim paced their arcs of emotion with absolute mastery, allowing momentum to build as Sieglinde (Anja Kampe) and Siegmund (Simon O’Neill) tumbled forwards into their incestuous love and pulling back during the tender conflict between Bryn Terfel’s Wotan and his daughter Brünnhilde (Nina Stemme),whom he must condemn to the flames.
Terfel, Kampe and Eric Halfvarson (as the warrior Hunding) all found humanity in a tale that can too easily remain distant among the gods – but the night was Stemme’s. Bounding onstage with her terrifying “Hojo- to-ho”, this was a Valkyrie who needed no winged helmet to announce her identity. The echo of her battle cry will linger long after the Proms season has ended – a whoop of triumph at having vanquished so many musical demons.