RING Intermission Chat with musicians Kathy Boyer and Mark Robbins

March 5, 2021·14 min·1 clip

Mark Robbins reveals how a tenor's joke during his first Siegfried horn call almost made him laugh mid-performance.

Violinist Kathy Boyer and horn player Mark Robbins, both longtime Seattle Opera musicians, share backstage stories from performing Wagner's "Ring" cycle. This intermission chat focuses on their experiences during the opera *Siegfried*. Boyer joined in 1986 and Robbins in 1982, offering decades of perspective on the epic work. Boyer notes the viola and second violin parts are exceptionally long, spanning over ninety pages of continuous playing. Robbins explains every horn part, including the Wagner tubas, is crucial despite some having long rests. They recall a tradition where the entire orchestra mimics the Nibelheim anvil theme with pencils at the first *Rheingold* rehearsal. Robbins highlights two memorable passages: the beautiful violin solo as Siegfried approaches Brünnhilde and the final scene with her singing. Boyer describes the physical challenge of playing softly and in tune after pages of intense, loud music. Robbins recounts conductor Hermann Michael using facial expressions rather than beat patterns to communicate during the violin solo. The horn call in *Siegfried* presented logistical challenges, with Robbins eventually performing it next to the conductor's podium for ideal sound. He shares a mishap where a new Siegfried tenor mistimed his miming during Robbins's first live performance of the call. The musicians remember a production using a real bear cub named Gumdrop, lured across stage with candy. Boyer reveals string players must conserve energy through extensive tremolo passages for the lyrical melodies later. Robbins's personal favorite moment is the opening of Act III with Wotan, not the famous violin solo. He also cherishes the humorous, argumentative music for Alberich and Mime before the dragon scene. Different Seattle Opera dragon designs, including a steam shovel and a seafood-themed one, are noted. The tone is informal and nostalgic, filled with personal anecdotes and technical shop-talk. The style is a conversational interview between colleagues reminiscing about shared artistic endeavors. Opera enthusiasts and classical musicians will enjoy the insider details about performing Wagner. Listeners seeking a broad introduction to the *Ring* cycle or dramatic narrative might find this specialized backstage chat less engaging.

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