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“Erin Caves is a terrific, commanding Loge"
(Opera News; DVD release Rheingold by Arthaus, 04/2009)
"I also liked the red-suited, bowler-hatted, chain smoking Loge (…)
they would grace any production in the world, as would Erin Caves´ sardonic, trenchantly declaimed Loge"
(Sunday Times London, Hugh Canning, 11 October 2009)
A Different Kind of Loge
Translated from the original German.
Thoughts by Wolfgang Willaschek about the vocal and dramatic presence of Erin Caves in his role as Loge in „Das Rheingold „ – March 2007
It is remarkable how it has become customary to allocate certain attributes to certain roles in opera. The cunning Loge has recently been made to be the precocious intellectual who haunts Wagner’s eve of “Rheingold” as a distinct character. The role has been branded vocally, as well as dramatically, and it appears as though every singer who studies it will be measured accordingly. Erin Caves surpasses any stereotype from the start. Is this character role his specialty? Barely has he begun the first phrases “. . . in Wasser, Erd und Luft, lassen will nichts von Lieb´ und Weib”, when the question becomes superfluous. He sings this great avowal, which belongs to the pivotal focal points of the whole cycle, not cunningly, not just characterized, but in a manner heartfelt and coherent in the best sense, lyrically and expressively, with greatest dedication and – yes, this is about Loge! – with absolute honesty.
This by no means implies that Erin Caves is not capable of lending the tricky, as well as juicy, role manifold character traits. On the contrary, where else in opera is a character so eagerly awaited by his fellow players as Loge, who is expected to save the catastrophic situation of the Wotan clan simply by appearing? Loge knows this. Surrounded by flames, the true symbol of his element, he stands center stage and presents himself as an auspicious magician. Erin conjures vocally with depth and warmth of tone. Finally a “singing Loge” in full capacity of vocal power. Physically, he is the perfect Loge and, as if on a catwalk, he lightly prances, strolling patronizingly across the table of Wotan’s home.
One easily presumes to know the basic character of this role – cunning, deceptive, inscrutable. But, just as easily, the role may be overdrawn through over-emphasis of that presumed strength and therefore over-played from the start. This is not the case here. This Loge is first and foremost one thing: a precise observer. His superiority consists mainly in the art of fast and correct reactions. He knows exactly when he is playing his game and when he reveals a little of what he truly thinks and feels. Wagner did not randomly allocate the voice of Cassandra in “Rheingold” to him: one who anticipates many events and who wants to use his maverick position to avert the obvious catastrophe early on. Admittedly, that would result in the four “Ring” operas coming to a near-end early on, if Wotan actually followed the increasingly insistent wish of Loge to obtain the ring merely to return it to the Rhein maidens. But this Loge speaks from his heart. Indulgently, he throws the remaining apple of Freia into the air as he notices what the loss of its nectar evokes in the other gods. At last, he can present himself in the proper light without having to fear direct repercussions from the oh-so-dear relatives! It is a masterful parody, without ever appearing overdrawn or one-sided as a parody in Erin Caves’ presentation.
The vocal ease – a very melodious Loge! – is transformed into agile play by the sly advisor. He just as easily knows how to advance on Fricka as he does to distance himself from Wotan, although he makes no secret of being very closely tied to him. Even at times when Loge and Wotan do not sing, such as during the search for Nibelheim, it becomes one of the most beautiful and lasting impressions of the Weimar “Rheingold” performance as both try to find their way to the underworld past wildly moving stage platforms. Such acting testifies for the great suggestive power of the stage.
In the third act, Loge develops into a masterful strategist and diplomat. He, and not the god himself, provides a double service before Alberich by literally fetching the coals out of the fire and by getting him to fall into the trap out of sheer vanity. Unequivocably, he begins to discover the delight of his own cunning. He does not let himself be harnessed to the cart of Wotan’s intrigue, but joins the race cunningly and deviously. Surely Erin Caves will have heard this before, but one hardly notices an American accent, particularly in those parts of the role that are almost exclusively recitative. His German comes across without being dry or even sterile, but just the opposite. The most beautiful and subtle nuance of his role portrayal turns out all the more lasting and definitive. He does not leave the side of his master Wotan, but takes part in everything, and thinks up the trap that Alberich gets caught in. He even drags the inferior dwarf into Wotan’s realm and seems to enjoy the humiliation of the captive Alberich that Wotan instigated. But, at the moment he realizes what Wotan actually had planned from the beginning, he is abruptly conscious of whose henchman he is. Like a dramatic exit, Loge’s pretend gesture appears to reject Alberich, but, actually rejects Wotan who has only egotistical goals in mind. Loge is to be nothing but Wotan’s means to an end.
Without acting out or upstaging anyone, Erin Caves definitely typifies the actual, deeper dilemma of this character. Loge is constantly superior, yet, in this superiority, he remains dependent on the greater power of the other god. Wotan brutally abuses this power and shamelessly surprises even Loge. Loge moves to the background and turns away from the unscrupulous actions of Wotan. Again, Erin Caves shows us that such a renunciation has its own subtle colors. Instead of choosing to compete against Wotan and his greed for power, Loge concentrates on small and concise gestures in the torture scene of Alberich. It is Loge who takes off Alberich’s dwarf shoes thus ridding him of his role. It is Loge who does not let Alberich out of his sight, and who, capable of admitting it or not, best knows and understands what is happening here -- an arbitrary power assurance that in turn makes Alberich a pitiful outcast. Loge shows us here his compassion for Alberich.
Loge has no need to play up his distance and distrust. Aware of his vocal presence, he ultimately transforms himself in the fourth and final act into the master and magician of the barely-spoken word and secret thought. Loge steps calmly and collectedly to the stage portal to observe, from a deliberately chosen distance, the so very hypocritical proclamation of the entry to Valhalla. When then, at the end of “Rheingold,” he takes center stage, a single gesture suffices as he covers one eye to display one last time who is playing what game and who by now understands it to the smallest detail. This Loge has no need to call grand attention to why he is finally fed up and intends to leave the official game. This Loge is a contradictory person (in the gods’ game!) whose fascination lies in his deep insights into the disparate nature of man. This is exactly what Erin Caves achieves through his singing and acting. We see not an aloof god, but a clever diplomat who outspokenly shows his suffering, caused by this deceptive game.
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