Glorious Sounds Rise from the Orchestra Pit
As for the music coming from the pit, one could call it a miracle. Conductor Thomas Hengelbrock, known for exploring music for original interpretations, took the festival orchestra to a new height with a natural and fresh quality that brought Wagner’s music closer to Mendelssohn.
He managed to elicit flawless sounds, where every single voice could be heard. How he must have drilled the musicians! It wasn’t the usual surging or whooshing, but a rolling, as if in a perfect roller coaster. Yet, it was driven by a pulsating heartbeat, poetic and inspirational during its calming moments. And the silence that he repeatedly injected into the music, especially during dialogues, was filled with crackling suspense.
The solo pieces by the orchestra bloomed like flowers in a spring meadow. Additionally, Hengelbrock succeeded in blending the sacred music of pilgrimage with the motif of Venus, without losing a beat.
Hengelbrock and his orchestra constantly offered unexpected surprises, dynamic twists and turns, and fantastic cooperation with the singers, who responded to the conductor’s sensitivity with a wonderful pianissimo and excellent form.
The chorus scenes became poems: guided by Hengelbrock, the chorus as pilgrims suffered in pianissimo and in andante acclaimed their worth—no German depression, but straightforwardness and honesty.
A promising sound that was full of wonder!
He managed to elicit flawless sounds, where every single voice could be heard. How he must have drilled the musicians! It wasn’t the usual surging or whooshing, but a rolling, as if in a perfect roller coaster. Yet, it was driven by a pulsating heartbeat, poetic and inspirational during its calming moments. And the silence that he repeatedly injected into the music, especially during dialogues, was filled with crackling suspense.
The solo pieces by the orchestra bloomed like flowers in a spring meadow. Additionally, Hengelbrock succeeded in blending the sacred music of pilgrimage with the motif of Venus, without losing a beat.
Hengelbrock and his orchestra constantly offered unexpected surprises, dynamic twists and turns, and fantastic cooperation with the singers, who responded to the conductor’s sensitivity with a wonderful pianissimo and excellent form.
The chorus scenes became poems: guided by Hengelbrock, the chorus as pilgrims suffered in pianissimo and in andante acclaimed their worth—no German depression, but straightforwardness and honesty.
A promising sound that was full of wonder!
Soloists Differ in Quality
Camilla Nylund, with her silvery lyric-soprano, depicted the tenderness and fieriness of Elisabeth; and as Wolfram, baritone Michael Nagy demonstrated sensibility and sophistication.
Gunther Groissbock, a young bass of sonorous maturity, was marvelous as Hermann. Equally outstanding in tonal quality were Lothar Odinius as Walther von der Vogelweide, and Katja Stuber as a young shepherd.
Missing the mark somewhat, was Lars Cleveman as Tannhauser, who although possessing a clear tenor tone that was full of energy, struggled with articulation when trying to sing to the narrow heights. Despite his passionate performance, and even ignoring Tannhauser’s cry of “Take pity on me!”, the audience awarded him with only a polite applause.
Compared to the rest of the performers’ flawless intonation, Stephanie Friede, playing Venus, was miscast. Her high pitches had problems.
A hearty applause was given to the indescribably wonderful orchestra, but Hengelbrock’s contribution went largely unrecognized. A few “Boos” may have communicated “We prefer Thielemann!” the former and regular conductor at Bayreuth festivals who was recently elevated to the position of musical adviser and music director.
Gunther Groissbock, a young bass of sonorous maturity, was marvelous as Hermann. Equally outstanding in tonal quality were Lothar Odinius as Walther von der Vogelweide, and Katja Stuber as a young shepherd.
Missing the mark somewhat, was Lars Cleveman as Tannhauser, who although possessing a clear tenor tone that was full of energy, struggled with articulation when trying to sing to the narrow heights. Despite his passionate performance, and even ignoring Tannhauser’s cry of “Take pity on me!”, the audience awarded him with only a polite applause.
Compared to the rest of the performers’ flawless intonation, Stephanie Friede, playing Venus, was miscast. Her high pitches had problems.
A hearty applause was given to the indescribably wonderful orchestra, but Hengelbrock’s contribution went largely unrecognized. A few “Boos” may have communicated “We prefer Thielemann!” the former and regular conductor at Bayreuth festivals who was recently elevated to the position of musical adviser and music director.
The Direction—Lacking Wonder
Though the music was inspiring, the spectacle and directing of the production fell far below it in quality. Baumgarten seemed to take the idea of wonder to an absurd limit: because wonder reigns in the world of “Tannhauser,” nothing is normal, and Baumgarten’s stage couldn’t possibly show any normality—at least this is what his direction consistently demonstrated, through to the end. However, without a contrast between what is wonderful and what is normal, can wonder exist?
Twenty-first century interpretations of the opera include the idea that men and women have different expectations. During the song contest we hear different ideas of how men should behave: with chivalry or with readiness to take on responsibility.
But Tannhauser, who with his song promotes libido as the driving force of his life, becomes a sinner in the eyes of society, as he undermines civilized cohabitation.
Director Baumgarten responded to dilemma of the spiritual in the material world, by stripping away all the higher, spiritual elements and leaving chaos in its place. Religion is depicted as a societal imposition, which requires that carnality and emotionality be restrained.
Nina von Mechow’s costumes were colorful, tacky, and trashy. They fit no time frame, nor were they stylish.
Twenty-first century interpretations of the opera include the idea that men and women have different expectations. During the song contest we hear different ideas of how men should behave: with chivalry or with readiness to take on responsibility.
But Tannhauser, who with his song promotes libido as the driving force of his life, becomes a sinner in the eyes of society, as he undermines civilized cohabitation.
Director Baumgarten responded to dilemma of the spiritual in the material world, by stripping away all the higher, spiritual elements and leaving chaos in its place. Religion is depicted as a societal imposition, which requires that carnality and emotionality be restrained.
Nina von Mechow’s costumes were colorful, tacky, and trashy. They fit no time frame, nor were they stylish.
