“Ride of the Valkyries” by Richard Wagner gives me a rush of adrenaline like no other. For years I’ve enjoyed various incarnations of the song, including a rock and a Western version. The song set the stage for actor Robert Duvall’s line “I love the smell of napalm in the morning” in the film Apocalypse Now. Many years ago, that song inspired me to listen to more of the hypnotic music of the incomparable Richard Wagner (pronounced REE-card VAHG-ner). I sought out and watched some of his operas. Wagner’s operas, such as Tannhäuser, Parsifal, and the operas in his collective Ring Cycle, feature unforgettable stories of family drama, doomed love, and the fury of the gods. Brandon Jovanovich (Siegmund) and Christine Goerke (Siegliende) in ‘Gods & Mortals: A Celebration of Wagner.’ Photo by Scott Suchman. Wagner is controversial. He was the favorite composer of a certain Austrian dictator. Jewish comedian Stephen Fry touched on that controversy in his 2010 documentary Wagner & Me. Fry addressed the question “Can you separate the artist from his music?” Wagner’s influence can be felt today. Star Wars and Indiana Jones composer John Williams was inspired by Wagner, particularly Wagner’s Ring Cycle. Williams, like Wagner before him, made extensive use of leitmotifs aka signature tunes (e.g., each Star Wars character had their own signature tune). “Siegfried’s Funeral March” was prominently featured in the King Arthur film Excalibur. Wagner’s music is cinematic, dramatic, and theatrical. Washington National Opera’s Gods & Mortals: A Celebration of Wagner was a celebration of Wagner’s best work. Less a full exploration and more of a Whitman’s sampler of Wagner’s music, this concert enthralled the audience with Conductor Robert Spano’s thundering orchestration and S. Katy Tucke’s projection design. Bass-baritone Derek Welton’s best work was in “Die Frist ist um (The Time Has Come)” from the opera The Flying Dutchman. That opera is about a sailor doomed to sail the seas eternally until he can find a woman who will be devoted to him until death. Welton brought power and emotional depth to the lyrics. CLOCKWISE FROM TOP LEFT: Christine Goerke (Brunnhilde); Soloman Howard (Oroveso); Derek Welton (Dutchman), in ‘Gods & Mortals: A Celebration of Wagner.’ Photos by Scott Suchman. Welton magically sang “Leb wohl (Wotan’s Farewell),” in which the Norse god Wotan banished his daughter, Brünnhilde, for defying him. I was disappointed that Director Francesca Zambello cut out the second half of the song, which I know as “Magic Fire Music.” Tenor Brandon Jovanovich amazed me in “Brünnhilde! Heilige Braut (Siegfried’s Death).” He showcased his tenor in “Prize Song,” from The Mastersingers of Nuremberg. “Winterstürme (Winter Storm)” from the opera Die Valkyrie is one of my favorites and Jovanovich performed it perfectly. Jovanovich hit a sour note with “Ewig war ich (Eternal I Was)” from the opera Siegfried, a duet with Soprano Christine Goerke about forbidden love. He relied on lyrics from a music stand, which took away from the performance. I wished Costume Director Mark Hamberger had put Jovanovich and Welton in sailor and knight costumes. Jovanovich played a knight who drew a sword from a stone — in a suit and tie. Goerke’s “Starke scheite (Immolation Scene)” about the end of the world, was mesmerizing. The projection of destructive fire was something to behold. Viviana Goodwin’s energetic soprano kicked off “Ride of the Valkyries.” She brought physicality to the role as she brandished her golden spear. I loved the 3D cloud projected effects. Hamberger dressed the Valkyries like punk rockers. How about wings and helmets? Soloman Howard, Bass, an alum of the Cafritz Young Artist Program, pleased the audience with the aria “Norma il predisse, o Druidi (Norma What Did You Say” from Bellini’s Norma. Howard played Oroveso, leader of the Druids, in a story about a love triangle in Gaul (France) during the Roman occupation. He brought machismo to his role. I enjoyed the performances of the supporting sopranos Tiffany Choe, Kresley Figueroa, Anneliese Klenetsky, and Teresa Perrotta. The cast was rounded out by mezzo-sopranos Michelle Mariposa and Winona Martin, and contralto Cecelia McKinley. Spano and his orchestra mesmerized me with the bombastic “Prelude to Act III” from the opera Lohengrin. The story is about a mysterious knight in a swan-driven boat, and a lady in distress. The aforementioned “Siegfried’s Funeral March” was moving. I also loved the orchestra’s rendition of “Siegfried’s Rhine Journey” and the wonderful 3D forest imagery. You’ll be a Wagner fan after you see this show. Look for this show or a show like it in the future. In the meantime, I encourage you, dear reader, to take a listen today online. Running Time: Approximately two hours and 30 minutes, with a 25-minute intermission. Gods & Mortals: A Celebration of Wagner played one night only October 26, 2024, presented by the Washington National Opera performing in the Opera House at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets for future shows can be purchased at the box office, online, or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm. The program for Gods & Mortals: A Celebration of Wagner is online. COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here. Gods & Mortals: A Celebration of Wagner Music and Lyrics by Richard Wagner CAST Christine Goerke, Soprano Brandon Jovanovich, Tenor Derek Welton, Bass-baritone Soloman Howard, Bass Tiffany Choe, Kresley Figueroa, Anneliese Klenetsky, and Teresa Perrotta, Sopranos Michelle Mariposa and Winona Martin, Mezzo-Sopranos Cecelia McKinley, Contralto CREATIVE TEAM Conductor: Robert Spano Director: Francesca Zambello Projection Designer: S. Katy Tucker Costume Director: Mark Hamberger