Sieglinde’s self-loathing and temporary madness and Siegmund’s threat of murder-suicide were believable and heart-wrenching.

The pair had strong chemistry, with searing, furtive glances in Hunding’s hut, childish flirtatiousness in their spring duet, and palpable despair in the second act. Mr Skelton was perfectly matched by Margaret Jane Wray’s Sieglinde, who sang with passionate energy. His cries of “Wälse” were as desperate as they were long – and they were the longest I have ever heard. We are very fortunate that such a consummate actor also sings divinely, with pure notes and unmatchable intensity. Later, he had many more orchestral interludes to fill with wordless acting, and he did so proficiently. The curtain rose on an intricate set of the forest and Hunding’s hut, with Siegmund (Stuart Skelton) running, tripping, pounding on the door, and finally collapsing inside.

Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers. After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed.

Seattle opera die walkure