“;Die Walküre”; (”;The Valkyries”;) is the second music drama in Richard Wagner's epic tetralogy, “;Der Ring des Niebelungen,”; and the second production in Hawaii Opera Theatre's season. While three works presented this season involve themes of love, the other two operas tell of mortals. Wagner uses gods, demigods, giants, dwarfs and dragons in mythical locales to convey the struggles between love and power, dependence and freedom.

To produce any portion of the “;Ring”; cycle is a tremendous undertaking. Wagner transformed the concept of opera when they first appeared in the 1870s. He employs a huge orchestra, and the vocalist does not sing above an accompaniment, as in more conventional fare. He instead inserts the vocal lines in the middle of a complex harmonic texture. This challenges the singer, who must project his or her voice to be heard above the orchestra while retaining nuance and intimacy.

Wagner obsessed over details of his dramas such that a special theater complex, Bayreuth, was built to produce them, and new instruments were invented to accompany them; he pushed the envelope of stagecraft to effect such wonders as underwater scenes, giants, a dragon and magic fire. These become tall orders for opera companies to fulfill, and the art of illusion has replaced much of the paraphernalia that preoccupied productions a century ago. Despite challenges, HOT has produced an effective and moving production of “;Die Walküre,”; starting with a strong 15-member ensemble cast that invokes the suspension of disbelief required for the mythic tale to cast its spell.

In the first act three singers, all mortals, command the action. Kip Wilborn and Susan B. Anthony are well matched as ill-fated twins Siegmund and Sieglinda. Anthony is convincing as the abused wife who finds love in the arms of her long-lost twin brother. John Marcus Bindel plays Sieglinda's husband, Hunding. He captivates the audience with a deep, penetrating bass-baritone that resonates foreboding the moment he appears.

Second and third acts introduce the gods. Jake Gardner renders a masterful performance as Wotan, king of the gods. His mature, warm but powerful baritone captures the frailty of this flawed, tortured being who possesses knowledge but lacks the wisdom to foresee consequences of his actions (politicians take note). Lori Phillips is a tour de force as daughter Brunnhilde, with her nimble soprano spanning the emotional spectrum of one of opera's most challenging roles.

Act 3 opens with Wagner's martial “;Ride of the Valkyries,”; popularized in Francis Ford Coppola's helicopter attack scene in “;Apocalypse Now.”; All nine Valkyries appear, singing full tilt, without a weak sister among them. The orchestra plays a role as important as any actor onstage throughout. Conductor Jari Hamalainen produces a well-polished sound that navigates the brooding complexities of the score without becoming muddy or overshadowing the singers.

Because of the monumental themes of “;Die Walküre,”; it is often used as a laboratory for experimental stagecraft. Director Henry Akina and his team played it safe, with lighting and scenery that suggest a mythic world that is spare, monochromatic, ancient yet timeless. Costumes by Helen E. Rodgers were wonderful and betray the story's Teutonic origins with some welcome variations. Fricka's gown possessed a dark, silvery liquefaction redolent of an evil Disney queen. The Valkyries' oft-mocked metal breastplates and Viking helmets are replaced with silver-studded black leather coats, gloves and boots that would make a dominatrix jealous.

Mark Twain once wrote that “;Wagner's music is better than it sounds.”; Despite rumors that Wagner's music is heavy and hard to understand, the impact of this HOT production is thoroughly enjoyable.