Visually, this Siegfried is stunning. Each of the three acts has it own life. Yet, they are born out of the Die Walküre set that production designer Michael Levine coolly dissembled into the jetsam and flotsam of a disintegrating world of the Gods of Valhalla.

Director François Girard's direction embraces the visual elements given to him, thoughtfully leans on the libretto of the fairytale-like story, and works in harmony with the COC Orchestra under the baton of music director Richard Bradshaw. Although he works with a smaller orchestra than Wagner requested — the full complement will be presented when Toronto's new opera house opens in 2006 with the full Ring Cycle — Bradshaw brings out the power as well as the sensitive and, sometimes, sensuous moments in the score. If you like Wagner's music, this production of Siegfried won't let you down.

The international cast was well chosen. Some we have met before in Die Walküre, others are new to the ensemble cast that has been built around this Ring Cycle production. We meet, of course, the young Siegfried for the first time. He is sung be German heldentenor Christian Franz, who handles Girard's visionary interpretation exceedingly well. One meets Siegfried for the first time as the curtain rises to find him sitting on top of a huge tree stump as if in a dream. The stump connects the set to the preceding production of Die Walküre. Siegfried wears a white, pyjama-like costume that emphasizes the dream-state of the character. All of the other characters wear similar costumes, with little variations adapted to their needs, but Brünnhilde will be shown in black. When she awakes, she is dressed in her Walküre costume that has started to disintegrate from the effects of her long sleep.

The stage floor is empty except for that stump. Above the hero of this tale hangs a canopy of what could be the tree's branches and leaves. Actually, they are bits and pieces of a world that has been blown asunder. There hang or rest the bodies of the heroes that the Valkyries had taken to Valhalla to live forever with the Gods. Or, are they humanity about to awaken to a new world order? There are bits and pieces of buildings and furniture, ornaments and vessels. This canopy presents both an image of devastation and of utter beauty, it is simultaneously brutal and delicate.

Girard, by interpreting this story as if happening in the imagination of Siegfried— someone, who until the end of the tale has had no real connection to the outside world—plays on the abstract ideas of Wagner's work. Not every opera can be abstracted, and be presented out of time and place. The Ring Cycle, however, is ideally suited to it and Girard knows how to take it to the very edge of a new creation without destroying the original idea.

With Siegfried is his old Bear, his pet and companion through a lonely childhood in the care of the dwarf Mime (pronounced Meema), the avaricious and deceptive Nibelung. George Molnar mimes the Bear well, a pet which is attached to Siegfried, but obviously cares little for the dwarf. Mime is sung by German tenor Robert Künzli. Not only is he an outstanding singer, but he is a good actor who interprets the character to his full loathsome self.

Peteris Eglitis, the American bass-baritone, who sang Wotan in Die Walküre, returns to sing the role of the Wanderer (Wotan in disguise). His powerful voice and stage presence embody the character of Wotan, a god, who has come to see the errors of his ways and that of his race, and looks forward to its demise. This, of course, will come about in the final episode of the operatic cycle, Die Götterdämmerung (Twilight of the Gods).

In Act II we meet Alberich, sung by English bass-baritone Pavlo Hunka, who sang Hunding in Die Walküre. His is a savage Alberich, well vocalized. Although Mime's brother, there is little love lost between the Nibelung siblings. After all, both are desirous of obtaining the golden ring that is at the Ring Cycle's centre.

The set has now lost the tree stump and the canopy opens in the back to what is the entrance of the cave of the giant, Fafner. He, in the form of a dragon, guards the golden ring and the Tarnhelm (camouflage helmet that makes the wearer invisible), which the Nibelungs desire.

The mighty voice of Fafner is sung by bass Phillip Ens. One can well understand from the reverberating voice why this Canadian bass is so sought on the international opera stages. The battle scene between Fafner and Siegfried is a choreographed marvel. Donna Feore has been brought in as choreographer for this production. She has created a dragon from a human pyramid of six dancers. They sway, held securely by wires, in a convincing rhythm to the motions of the fight. She also creates wonderful images, with the help of lighting designer David Fin, in Act I when Siegfried is bent over a raging flame to forge a new sword, known as Nothung, out of the pieces of his father's broken sword. And she repeats this in the creation of the flames that surround Brünnhilde in Act III. One can only say, "Brava, Donna."

In this act we also first meet the Forest Bird, sung with fine lyrical qualities by soprano Laura Whalen in her COC debut. She floats angle-like above the stage with a barely visible wire. It seems a fitting metaphor, because the bird acts as Siegfried's protector.

The final act is presented in stark black and white, enhanced by excellent lighting. Here we meet Erda, goddess of the earth, who possesses the ability to see the future. The exchange between the Wanderer and Erda, sung by Danish contralto Mette Ejsing, leaves a strong impression. Ejsing, in her debut with the COC, proves to be ideal for the part.

As the opera moves on toward its climax, the audience is confronted with a very different interpretation of what it may have been used to expect of an awakening to love for Brünnhilde, and to love and fear for Siegfried. There are only two moments when they touch - when Siegfried bends to awaken her with a chaste kiss, and at the very end, when their hands and heads meet in a moment that is highly emotionally charged. Here we have two beings, who are about to awake to life and to an indeterminate future, which the audience knows already, but they still have to discover. Soprano Frances Ginzer reprises her role of Brünnhilde from Die Walküre. In this staging, she must cope with singing mostly while semi-reposed. She comes through wonderfully.

This COC production of Siegfried raises a couple of interpretive question in my mind, which however, in no way detract from my enjoyment of it. One is: Why is the debris of buildings floating above Siegfried's head a look-alike of the central dome of the US Capitol building? It would be a shame if Levine attempts to make a political statement here. The second is: Why are there a Greek Orthodox cross and a tiny crucifix among this debris? We are dealing here with the retelling of a pre-Christian saga by a composer, who claimed no religious affiliation. His work was that of a nationalist, who idealized the past and through it inadvertently revealed psychological truths. Geniuses sometimes tend to do that even if they, themselves, do not live up to what they see. He also inadvertently foreshadowed a horrific future of his nation, though he was not to know what turn it would take and how his music would be used by a depraved regime.

Let me leave this review at that. Don't miss seeing Siegfried. It is highly worthwhile. Despite its five-hour length, it passes with considerable speed that leaves the viewer electrified, and hungry for Die Götterdämmerung.

Ticket prices for all performances range from $50 to $195 and may be purchased by calling 416-872-2262 , online at www.coc.caor in person at the Hummingbird Centre Box Office or Ticketmaster outlets. Tickets for those who are 17 years of age or under, accompanied by and sitting next to an adult, are priced from $18 to $50. Also, $18 and $29 tickets are still available for patrons between the ages of 18 and 29

Photo credit: Michael Cooper