Gary Payne

The Ring Without Words as performed by The San Diego Symphony on Saturday, November 11, was all I hoped it would be.

The pacing and structure of Lorin Maazel’s adaptation of Wagner’s Ring Cycle are masterful, creating a seamless flow that mirrors the dramatic arc of the original epic. The transitions between themes and leitmotifs are handled with precision, maintaining a sense of cohesion while highlighting the emotional peaks and valleys of the storyline. In this orchestral journey, Maazel guides the listener through the mythical realms and human dilemmas that define The Ring of the Nibelung.

That being said, I was surprised by a few omissions, such as the arrival of the giants in Das Rheingold, along with the the gods proceeding into Valhalla at the conclusion. I thought “Wintersturme” from the first act of Die Walküre would be included, along with the “Magic Fire” music from the final scene. I thought Siegfried got the short end of the stick — but, to be fair, it is the least popular of the Ring operas. Still, notable in its absence was the forging song, the prelude to Act III, and the music of Brünnhilde’s awakening. Götterdämmerung, however, included everything I thought it would.

In case it’s not obvious, I had never listened to The Ring Without Words prior to the concert. I have often listened to the Ring operas, and used to have a few Ring highlights CDs back in the day. But outside of a concert, I don’t think I would feel compelled to listen to this version.

In concert, however, it is fantastic. The Shell was flexing all of its multi-media muscles, with projections of the action illuminating the ring of the stage. Maazel moves chronologically through The Ring, and each opera was announced with projections as the action tumbled forward.

It occurred to me that taking about 75 minutes out of a 15-hour musical epic such as The Ring means the entire thing could have been constructed out of fortissimo sections. I mean, the whole concert could have been performed at a volume of 11. Of course, that was not the case.

Music Director Rafael Payare had the San Diego Symphony in peak performance mode. There was an appropriate thickness in the sound that only Wagner can create. The orchestra sounded mature and fully developed, ready to take on anything The Ring threw at them.

The prelude to Act II of Die Walküre was a blistering blast of Wagnerian energy. As the music grew and developed I thought my brain might melt. It is no easy task to listen to this condensed version of The Ring. The orchestra sounded thick because the score is thick. Listening to it reminded me of drinking from a firehose.

As the concert concluded I had the distinct impression that I witnessed an important chapter in the evolution of The San Diego Symphony. As of now, The Ring Without Words is scheduled to be reprised on February 24 and 25, 2024.