La Scala Lohengrin 2012 season opening

Lohengrin. Teatro alla Scala, December 2012 opening night, streamed. Production: Claus Guth. Conductor: Daniel Barenboim. Cast: Jonas Kaufmann (Lohengrin), Annette Dasch (Elsa), René Pape (Heinrich), Evelyn Herlitzius (Ortrud), Tomas Tomasson (Telramund), Zeljko Lucic (Heerrufer).

At 7 pm, German soprano Annette Dasch received a phone call in her Berlin home. If she could possibly come to Milano and sing Elsa in the new Claus Guth production of Lohengrin the next evening for the season opening of La Scala in Milano, as Anja Harteros was ill? To be televised directly, obviously. 3 hours later she was on the plane. The next day, she had a 2 hour session with Claus Guth and 10 minutes with Daniel Barenboim. She had worked with Barenboim before, but not in Wagner operas, as well as with Claus Guth. And she had sung Elsa to Jonas Kaufmann´s Lohengrin in 2009 in Bayreuth, in a production where Elsa is a disturbed character, not entirely unlike her characterization in this production.

Claus Guth is particularly known for emphasising the darker sides of standard repertoire work - just take a look at his Nozze di Figaro or Cosí fan tutte, both available on DVD. His favourite century is the 19^th century (source: himself) and setting his Lohengrin in a repressive Biedermeier society seems just like the thing he would do. We are in an open space surrounded by balconies and doors. A piano and some stretches of grass represent the past with frequent flashbacks of Elsa playing the piano under Ortrud´s rough guidance. Elsa and her brother were  repressed (if not physically abused) as children. It is this repressive society that Elsa longs to leave, and thus she conjures up Lohengrin, a sickly, neurotic wretch whom she clearly does not love and finally rejects. Also frequently seen on stage: A child with swan feathers and Lohengrin more often than not curled up in a fetal position. According to an interview Claus Guth´s agenda evolved around how people arrived at their own happiness after a deprived childhood. He raises plenty of questions, however. Such as why Lohengrin has to be so sickly? While it is excellent with a staging raising plenty of questions I ultimately felt that the lack of consistency and interpersonal relations (especially between Elsa and this sickly Lohengrin) were the weakness of this staging. 

For Jonas Kaufmann, the ultimate romantic hero, one could wish for him to appear in a slightly more traditional production or at least one where he is allowed to show the romantic/as written in the score sides of Lohengrin:  In 2009 in Bayreuth he was in the middle of a rat experiment, later that year in Munich he was a carpenter, and here in Milano he is a neurotic fragment of Elsa´s fantasy, stripped of all pretenses, rolling on the floor curved in fetal position.

His singing, however, is formidable and he just seems to get better and better. A couple of years ago one would often hear that he could not go on singing like that, with his shaded tenor pushing for the high notes. That criticism is nowadays seldom heard. Anyway, I for one, have always thought that, unlike Villazon, his singing seems rock solid. Really he is virtually beyond competition as Lohengrin today.

Annette Dasch is a formidable actress, and creates an intensely moving portrayal of Elsa, quite better than her performance at Bayreuth. However, legato lines and blooming topnotes still are not her specialty and Anja Harteros remains the better singer of the two while Annette Dasch clearly is the superior actress.

René Pape was superb in what is a medium-opportunity role for him and Zeljko Lucic was luxury casting as Heerrufer.

As for the socalled villains, they were unfortunately disappointing. Tomas Tomasson was heavily overmatched and Evelyn Herlitzius, though a fine actress, was wobbly and frankly unpleasant to listen to. Could Barenboim not have called Waltraud Meier for this, really?

The Scala orchestra plays formidable for Barenboim. As I noticed some years ago when he conducted Tristan and Isolde here, there is a particular expansive sound to the orchestra, not heard when he conducts his Berlin hometown orchestra.

Official production trailer:

The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5
Annette Dasch: 4
René Pape: 5
Tomas Tomasson: 3
Evelyn Herlitzius: 3

Claus Guth: 4
Daniel Barenboim: 5

Overall impression: 4

Bayreuth Lohengrin - A rat experiment

Lohengrin, DVD. Bayreuth 2011. Production: Hans Neuenfels. Conductor: Andris Nelsenos. Cast: Klaus Florian Vogt (Lohengrin), Georg Zeppenfeld (Heinrich der Vogler), Annette Dasch (Elsa von Brabant), Jukka Rasilainen (Friedrich von Telramund), Petra Lang (Ortrud), Samuel Youn (Der Heerrufer des Königs).

Lohengrin as a laboratory rat experiment. Not as silly as it may sound. In fact, director Hans Neuenfels has created a vastly interesting as well as moving production of Lohengrin – conceptually by far the most interesting available on DVD and probably the overall most interesting I have yet seen.

We are inside a white laboratory. The people are rats. The protagonists seem to be super-rats. Or perhaps not all of them. Lohengrin, who struggles in vain to enter the lab during the vorspiel, and Telramund, whose narration is accompanied by a projection of “wahrheit” may have be placed in the lab as part of the experiment to see what reactions they provoke. Or maybe not. Because nothing is entirely clear in this challenging production. The lab technicians seem to be always in control, entering and exiting the laboratory manipulating with the rats.
Black-white, action-reaction, the people are rats and they are followers. And they chose to follow Lohengrin, gradually changing their rat-like appearance into human shape. And who should Elsa follow? Brought in by the rats, covered in arrows, she takes shape according to her surroundings – rats, swan, Lohengrin. Love is not an ingredience in this experiment.
A tilted wagon, a dead horse, rats escapint with gold bars and money: Ortrud and Telramund are caught by the rats when trying to escape.  But why exactly Telramud becomes a rat after his failed attempt to kill Lohengrin is less clear to me. And who is this Schützer von Braband? An embryon capping his umbilical chord. As a reaction to the experiment, perhaps?

Lohengrin as an experiment of how we react to authorities. Not at all uninterersting, as a matter of fact probably the conceptually most interesting Lohengrin I have seen to date as it captures the primitive action-reaction, hero-antihero as well as black-white patterns somehow inherent in the plot. The sets are aesthetic, the colours are clear and beautiful. The answers are by no means obvious and this multilayered production probably requires repeated viewings by most to capture the essence. Whatever that may be perceived to be.

When the production opened in 2009 Jonas Kaufmann was Lohengrin. In 2010 Klaus Florian Vogt took over the role and this is thus his second Lohengrin on DVD. With clear ringing notes Klaus Florian Vogt is superb, a “tenorial” Lohengrin far from the sound we have been used to from Plácido Domingo as well as Jonas Kaufmann, and both vocally and physically perfectly suited to this production. He may even have lost some of his eeriness these past few years giving place for a rather human interpretation.

Unfortunately Annette Dasch is by no means a first-rate Elsa. Unable to sustain a legato line, often out of breath, shrill and with no bloom and warmth in her tone. That she looks fabulous capturing the essence of eery passivity that Neuenfels undoubtedly wanted does unfortunately not outweigh her vocal short-comings.

As Telramund Jukka Rasilainen has the appearance but not quite the voice, while Petra Lang is a better Ortrud than almost anyone else I can think of today.

Accompanied by a swift and spirited performance from Andris Nelsons, this DVD is a must for those interested in contemporary performances of Richard Wagner´s work. Though for those less familiar with the work probably Lehnhoff´s aesthetic, rather straight-forward production from 2006 may be an all-round better choice. Or even the Claudio Abbado conducted 1990 production from Vienna - visually dreary but musically superb.

Elsa´s call and the appearance of the Swan:

The bottom line (scale of 1-5, 3=average):

Klaus Florian Vogt: 5
Annette Dasch: 2
Petra Lang: 4
Jukka Rasilainen: 4
Georg Zeppenfeld: 4

Andris Nelsons: 4
Neuenfels production: 5

Overall impression: 4

Kaufmann Lohengrin DVD with Harteros, Richard Jones from Munich

Lohengrin. DVD. Bayerische Staatsoper München 2009. Production: Richard Jones. Conductor: Kent Nagano. Cast: Jonas Kaufmann (Lohengrin), Anja Harteros (Elsa), Michaela Schuster (Ortrud), Wolfgang Koch (Telramund), Christoph Fischesser (Heinrich).

Richard Jones´ production of Lohengrin in Munich was The Wagnerian Talk of the Season 2009-10 mainly as this was Jonas Kaufmann´s debut in the title role. As well as his first major role in a new production in his home-town Munich, where he was never recognized until he undisputedly had made his name elsewhere.

It seems like Richard Jones concept evolves around an ironic interpretation of the bourgeois dream, of a traditional living and family, with Elsa and Lohengrin quite literally building a house together dressed as carpenters. A house, which Lohengrin eventually sets on fire when he leaves. Now, I have seen several productions by Richard Jones, which work. Most notably a superb Rusalka in Copenhagen a couple of seasons ago. Thus speaking, he is capable. So, one wonders what òr who on earth made him think that extracting all the interpersonal drama replacing it with something as boring as watching people building a wooden house works? To be answered clearly: It does not work. Some free advice: Forcing a fixed idea onto an opera with no seeming interest in the personal relations almost never works.

Jonas Kaufmann was exactly the stellar Lohengrin he was made out to be - romantic, present, and with a barytonal sound, that I honestly prefer. He doesnt always sound entirely effortless, but neither did Domingo in his prime. Please, could we see Jonas Kaufmann in another production?
Anja Harteros received unanimous praise for her Elsa, both during the run of performances and for this DVD. As for this DVD, I simply do not agree. She has the bloom and the legato lines, but for me, the two major detractors about her singing is 1) she basically leaves me cold and 2) she is singing out of tune. As for 2), she may have had an off night, as her intonation has been spot-on the times I have heard her live, but "einsam in trüben tagen" was about 1/4 note flat more often than not. Admittedly she warmed up during the 2nd act, but I am really allergic to singers being flat.
The former Munich opera intendant found the originally contracted Waltraud Meier too old for the part and replaced her with the passable, but nothing more, Michaela Schuster. Crazy. However, the new intendant does not agree, so now one may see Waltraud Meiers Ortrud in Munich.
 Also crazy that the producer didn´t chose another night for filming Telramunds major scene, Act 2 scene 1, as the otherwise competent Wolfgang Koch was about a tact behind the conductor at several of his outbursts.

Kent Nagano is far better here than on his previous DVD from Baden-Baden, less restrained, with more passion - hovewer his transparency will never put him in the league of great Wagnerian such as Thielemann or Barenboim, just two mention two currently active.

So unless you are a die-very-hard fan of Jonas Kaufmann, look elsewhere for a Lohengrin on DVD.


The bottom line (scale of 1-5, 3=average):

Jonas Kaufmann: 5
Anja Harteros: 3
Michaela Schuster: 3
Wolfgang Koch: 3
Christoph Fischesser: 3-4

Richard Jones: 2
Kent Nagano: 3

Overall impression: 2 - because on DVD the director really does count

So zieht das Unheil in dies Haus (or: The Berlin Barenboim Herheim Lohengrin)

Lohengrin, Berlin State Opera, April 12th 2009. Production: Stefan Herheim. Cast: Klaus Florian Vogt (Lohengrin), Dorothea Röschmann (Elsa), Michaela Schuster (Ortrud), Gerd Grochowski (Telramund), Markus Brück (Herald), Kwangchul Youn (Heinrich). Conductor: Daniel Barenboim. Further information here.

Norwegian director Stefan Herheim has become one of the most sought-after directors after his staging of Parsifal at the Bayreuth Festival last year. Some thought Herheim created a masterpiece. Others, me among them, did not. Though I have greatly admired Stefan Herheim´s stagings of the past, such as the brilliant deconstruction of Entführung in Salzburg 2003, the Parsifal was quite simply to overly-intellectual and disorganized as I saw it.
Which also applies to this new Lohengrin production, though this time to a degree that I actually find Stefan Herheim more or less has ruined the piece.
The short version of this review is that I do not recall any new staging of any Wagnerian opera, which appealed so little to me than this Lohengrin. Daniel Barenboim, on the other hand, was sensational.
In fact I have pondered for two days on how to put this on paper in a both civilized and fair manner. And to start with the fairness, I may add that though the general opinions in the German press on Herheim´s staging were only luke-warm, this review is firmly rooted in the very negative end of the specter. Not to forget, that others found this staging to be a masterpiece.
To the point: I simply didn´t understand the concept. It was a confusing, un-dramatic as well as highly intellectual mish-mash which brought me nothing. And worst of all: It took all the attention away from the music.

It started well: A Richard Wagner puppet dances on a tree-trunk during the prelude. A feather drops down and he apparently starts to compose. We then move on to Act 1, opening in present time with groups of people waving banners displaying the three opera houses in Berlin, apparently an allegory of Brabant with The Herald starting out as the Berlin bear:

All main characters, Ortrud (and possibly Lohengrin) excepted, are puppeteers with a medieval puppet version of their character, which they control. Around the time the horn and helmet clad Lohengrin arrives, the action moves into the medieval times. Still with puppets.
And with the additional twist of all characters wearing naked-body suits with strategically placed figleaves, which they change into at various points, running around the stage.

The explanation? According to the programme booklet, Stefan Herheim explains that the sin of Eve (eating the forbidden apple thus rebelling against God) in Eden is central to the drama of Lohengrin. Who am I to say he is not right? However, as engaging theater, in my opinion it fails completely. And has very little connection to the music drama Lohengrin.

Though the puppet-puppeteer concept does seem rather appropriate for a static piece like Lohengrin, Stefan Herheim, as I see it, fails to ask (or answer) the central questions of Lohengrin, such as: Where does this man come from? Why must we not know his name etc.? Questions Peter Konwitschny actually does both ask and answer in his famous Hamburg production, a major inspirational source for Stefan Herheim.
Readers who admire Konwitschny´s Lohengrin, certainly stand a rather good chance of at least reacting more positively to Herheim´s as I do.

The working relationship between Daniel Barenboim and Stefan Herheim was not the best, with Herheim publicly accusing Daniel Barenboim, among other things, for extended abscence during rehearsals (probably rightly). Daniel Barenboim, on the other hand, publicly disagreed with Herheim´s decision to stage the prelude, a decision it was "too late to change" as he put it. A rather strange statement, as one may argue he could have thought about participating in the rehearsals at a point before it became "too late" for changing anything, including the director...

Being the third, and last, performance of this run, the orchestra was simply sensational. Somewhat unusual for Daniel Barenboim, his tempi were rather brisk. But with an energy and inner sense of the dramatic structures making this easily the best conducted Lohengrin I have heard.
Of the singers, Dorothea Röschmann stood out as a simply wonderful and very touching Elsa. With her old-fashioned way of singing, much like that of Elisabeth Grümmer, the dark colouring of her voice combined with superb, stylish phrasing made for a very moving experience. Unlike her Eva in last years Meistersinger, Elsa seems to suit her well. She does reach the limit of her voice, but she doesn´t exceed it.
Klaus Florian Vogt´s Lohengrin has spurred starkly contrasting opinions: Admirers point to his ringing, effortless topnotes. Detractors point to his monotonous singing. Both sides are right as I see it: Vogt´s Lohengrin is monotonously sung and acted with the added benefit (?) of an indifferent psychopathic air to his presentation. Though he really does hit those notes, piercing effortlessly through Barenboim´s orchestra. But contributing to any degree of interpersonal drama he does not. Neither does Stefan Herheim. At least not on stage..

Beauty of voice or expression is not what Michaela Schuster offers. However, her over-all portrait of Ortrud was superb: She clearly inhabited both the comic and desperate sides to the character and delivered a very effective, vocally as well, performance. Accompanied by Gerd Grochowski´s character barytone, singing rather well as Telramund, but having a hard time to penetrate through Barenboim´s orchestra.

How would René Pape have looked running around in a naked-body suit with figleaves and a wooden stick chasing Elsa´s bridemaids? Fortunately (for him), his illness (he has now recovered) prevented us from finding out and Kwangchul Youn delivered a fine performance.
In summary, if you ask how much action and how many intellectual concepts one may put into one Wagner opera, I´d say Stefan Herheim is the man with the answers. And if anyone should still ask who is the pre-eminent Wagnerian conductor alive, it is Daniel Barenboim.

Links to most German and international reviews of the production .

The bottom line (scale of 1-5, 3=average):

Klaus Florian Vogt: 4
Dorothea Röschmann: 4-5
Michaela Schuster: 4
Gerd Grochowski: 4
Kwangchul Youn: 4

Stefan Herheim´s production: 1-2

Daniel Barenboim: 5

Overall impression: ?

DVD: Metropolitan Opera Lohengrin

Lohengrin. Metropolitan Opera 1986. Production: August Everding. Cast: Peter Hofmann (Lohengrin), Eva Marton (Elsa), Leonie Rysanek (Ortrud), Leif Roar (Telramund), John Macurdy (King Heinrich). Conductor: James Levine. Further information here.

I was astonished (not in a negative way, say) by the absence of a swan in this 1976 August Everding Lohengrin production at the Metropolitan Opera. I thought a swan was compulsory at that address... at least in the pre-Robert Wilson era. Instead the light simply disappears in the corner of the sets, which are predictably traditional and dark, yet vastly superior to the Lohengrin sets at the Vienna State Opera.

Peter Hofmann´s vocal decline was obvious in 1986 (he was diagnosed with Parkinson´s disease a few years later), especially when compared to his 1982 Bayreuth Lohengrin. He certainly looks the part, but quite simply does not sing it well.

Eva Marton was Ortrud in the earlier run of this production, a part better suited to her than Eva. She is frequently flat and not overly exciting, though her vocal decline (starting about 1990-91) had not set in yet. But she is certainly no match for Cheryl Studer on both the Vienna State Opera and Bayreuth Lohengrin DVDs.

No matter how intense Leonie Rysanek´s acting is as Ortrud, she simply does not have the voice for the part lacking the necessary weight in her middle and lower voice, though surprisingly often (for her!) on pitch. I am a major admirer of Leonie Rysanek, but Ortrud simply does not suit her. And even in intensity she is no match for Waltraud Meier.

Danish barytone Leif Roar, the first Telramund I heard more than twenty years ago in Copenhagen, is dramatically excellent in a part, where you may get away with snarling and literally screaming quite a few of the exposed high notes. Though I wouldn´t mind hearing a singer able to sing them at some point..

James Levine, rather to my surprise, is masterful with this score, both spacious as well as exciting and dynamic, when called for. The irrititating superficial smoothness of his readings of Wagner´s later works (Meistersinger, Tristan, The Ring and Parsifal) is simply not here, a rather positive surprise, in my opinion.

The bottom line (scale of 1-5, 3=average):

Peter Hofmann: 4
Eva Marton: 3
Leonie Rysanek: 3
Leif Roar: 3
John Macurdy: 3

Everdings production: 3

James Levine: 4

Overall impression: 3

DVD: Herzog Bayreuth Lohengrin

Lohengrin. Bayreuth Festival 1990. Production: Werner Herzog. Cast: Paul Frey (Lohengrin), Cheryl Studer (Elsa), Gabriele Schnaut (Ortrud), Ekkehard Wlaschiha (Telramund), Manfred Schenk (Heinrich). Conductor: Peter Schneider. Further information here.

Werner Herzog is renowned as one of the leading German film-makers of his generation. After seeing this Lohengrin, you are once again confirmed that the elements of successful film-making apparently differ from those of successful opera-making. Werner Herzog retorts to old-fashioned gimmicks he´d never dream of using in his films and genuinely seems far too respectful of the operatic medium to create something genuinely interesting.

Apparently Herzog was told by Wolfgang Wagner to apply "no trendy antics - the production has to stay for 5 years". To which Herzog responded with an utterly conservative romantic recreation of the middle ages.

Werner Herzog recreates the primitive 10th century northern-European setting of Lohengrin. The open air of Act 1 with stone circles in the mist is similar to the gatherings of the Icelandic Sagas. Lohengrin arrives through a laser spiral of smoke - as he would in Ancient Northern Europe.
In Act 2 we are by a mighty black lake. Though the castle in ruins by the lake is hardly an intrinsic element of the 10th century..The open-air wedding in Act 3 takes place in a landshape astonishingly similar to that surrounding Erik the Red´s settlement in Greenland.

Nature plays a major part in the production - the mist of Act 1, the mist and snow of Act 3, the darkness in Act 2 - only for Elsa´s wedding do we see the sun. Symbolically, Ortrud and Elsa reach out to each other in the snow-covered end, with Elsa´s ghostly brother in the background.

There is more than a touch of kitsch to this staging, which more than occasionally smells of plastic and of the landshapes of a zoological museum complete with prehistoric animals.

To complete the production, Herzog wanted to encircle the Bayreuth Festival House with stones, something Wolfgang Wagner however vetoed...

On paper this production sounds rather interesting. It isn´t. It is very static, the direction is dull and there is no real interaction among the characters.

Cheryl Studer is clearly the best of the cast as a superb, floating and warm Elsa. She tries, but there is no chemistry between her and the extraordinarily boring Paul Frey. A lyric, unheroic Lohengrin, he is both vocally and dramatically uninteresting. They are opposed by the rather wooden villains of Gabriele Schnaut and Ekkehard Wlaschiha.

It´s hard to say anything really negative about this production. On the other hand, it is equally hard to be enthusiastic. Exciting theater, it is not. But it will offend very few.

And for quite a few, it may be the preferred Lohengrin on DVD - that is for those preferring a traditional Lohengrin, but not being particularly attracted to the dark Vienna Abbado/Domingo production or the rather undead Metropolitan production.

Act 1 "Durch gottes sieg..":

The bottom line (scale of 1-5, 3=average):

Paul Frey: 3
Cheryl Studer: 5
Gabriele Schnaut: 3
Ekkehard Wlaschiha: 3
Manfred Schenk: 4

Peter Schneider: 4
Werner Herzog´s production: 3

Overall impression: 3-4

Trapped in the dark middle ages with no escape: Vienna Lohengrin with Claudio Abbado and Placido Domingo on DVD

Lohengrin. Vienna State Opera 1990. Director: Wolfgang Weber. Cast: Plácido Domingo (Lohengrin), Cheryl Studer (Elsa), Dunja Vejzovic (Ortrud), Hartmut Welker (Telramund), Robert Lloyd (Heinrich). Conductor: Claudio Abbado. Further details here.

Traditionalists may initially be uplifted by the though that director Wolfgang Weber takes all Wagner´s so-called intentions including the 10th century Lohengrin setting very serious. Beware, the optimism may be short-lived, though: The dark middle ages have never been more genuinely dark and medieval than in this Vienna staging...

The staging "allows the singers plenty of room to develop" - indeed, as stage direction seems absent from this production. Though the director may disagree, dressing Ortrud in red is not enough to create compelling drama...

In brief: This staging is unbearably boring and tedious. Trapped in the dark middle ages with no escape indeed...

Once and for all: I do not care about Plácido Domingo´s German diction when he sings and acts like he does here. Though, technically speaking, his diction is excellent. His German is not. I´ll spare readers a lenghty explanation of just why Plácido Domingo is the best tenor in this repertoire for as long time back as I can remember, but keywords include: Legato singing, dramatic presence, beautiful barytonal glow, convincing interpretation.

Cheryl Studer is a vocally a very fine and moving Elsa, though rather monodimensional on stage. However, the Queen of monodimensionalism is Dunja Vejzovic´s very passive Ortrud, who constantly looks bored more than anything else. Matched by the slightly more energetic, though wooden Hartmut Welker. Robert Lloyd´s nasal singing frankly irritates me as Heinrich, and overshadows whatever additional qualities he may have.

Claudio Abbado conducts with transparent beauty and myriad of details. In the perfect world he would have added more energy and intensity as well. And chosen another stage director..

In short: Not recommended despite excellent performances from Domingo, Studer and Abbado.

Plácido Domingo and Cheryl Studer, 3rd act confrontation (the highlight of the DVD):

The bottom line (scale of 1-5, 3=average):

Plácido Domingo: 5
Cheryl Studer: 4
Dunja Vejzovic: 2
Hartmut Welker: 2-3
Robert Lloyd: 2

Wolfgang Weber´s production: 1
Claudio Abbado: 4-5

Overall impression: 2

Lohengrin Bayreuth 1982 DVD

Lohengrin. Director: Götz Friedrich. Bayreuth Festival 1982 (production from 1979). Cast: Peter Hofmann (Lohengrin), Karan Armstrong (Elsa), Elizabeth Connell (Ortrud), Leif Roar (Telramund), Siegfried Vogel (Heinrich). Conductor: Woldemar Nelsson. More information here.

Götz Friedrich´s vision of Lohengrin is dark and static shifting between reality and Utopia - reality being the power-obsessed people of Brabant, Utopia being the land of Elsa´s dreams where Lohengrin lives. A golden disc mediates between these two worlds, reality and fantasy, thus replacing the traditional swan.

That Elsa is a sensitive, but not overly naive woman dreaming of an alternative to her power-obsessed compatriots is obvious from the moment she appears in misty light during the prelude. She conjures up the imaginary Lohengrin, appropriately dressed in white. However, when he returns in Act 3 as a black knight returning a miniature warrior brother to Elsa, we realize that there really is no hope.

The staging is simple, square, dark and unfortunately very static as well. While it may offend no-one, I doubt many will find it exciting. What however works well, austere surroundings apart, is the core romantic drama, mainly thanks to Peter Hofmann.

Peter Hofmann is the ideal romantic Lohengrin. He looks the part. He is the real romantic hero. He sings well. He is very moving. What more can anyone want? That Peter Hofmann in the last part of his career (end-80s) may have performed less well, may quite possibly be attributed to the well-known incipient onset of the invalidating Parkinson disease he officially was diagnosed with in 1994, and which has resulted in him apparently struggling economically as well being virtually crippled today. But in 1982 he was on top of his game.

Karan Armstrong (wife of the director) is a touching Elsa. Her high notes are somewhat fluttering. But her overall portrayal is rather moving. And while Elizabeth Connell vocally can sing the part of Ortrud, dramatically she is too placid. Leif Roar makes slightly more impact as Telramund without being overly impressive. Siegfried Vogel is a static King Heinrich, but in fine voice

The Bayreuth Festival Orchestra under Woldemar Nelsson is solid, but ultimately unspectacular.

The production is probably too static for many to fully appreciate it. However, for those wanting a traditional production, the recently released Herzog Bayreuth Lohengrin may be worthwhile.

For those not opposed to Regietheater, Lehnhoff´s Baden-Baden staging as well as Konwitschny´s class-room Lohengrin may be worth checking out.

Peter Hofmann and Karan Armstrong in Act 1 final scene:

The bottom line (scale of 1-5, 3=average):

Peter Hofmann: 5
Karan Armstrong: 3-4
Elizabeth Connell: 3-4
Leif Roar: 3-4
Siegfried Vogel: 3-4

Götz Friedrich´s staging: 3
Woldmar Nelsson: 3-4

Overall impression: 3-4

Ortrud on DVD: Waltraud Meier in Lehnhoff´s Baden-Baden production (also featuring Klaus Florian Vogt as Lohengrin)

Lohengrin. Baden-Baden Festival 2006. Director: Nikolaus Lehnhoff. Cast: Klaus Florian Vogt (Lohengrin), Solveig Kringelborn (Elsa), Waltraud Meier (Ortrud), Tom Fox (Telramund), Hans Peter König (Heinrich). Conductor: Kent Nagano with the Deutsches Symphonie-Orchester Berlin. Further details here.

Nikolaus Lehnhoff seems not to have forgotten his old boss and mentor Wieland Wagner as there is a certain New Bayreuth timelessness as well as an air of ancient Greek tragedy to this Lohengrin recorded live in Baden-Baden in 2006, also seen at La Scala last season.

Lehnhoff sees Lohengrin as a psychological drama centered around Elsa, who is virtually present on stage during the entire opera. This is a drama of contrasts: Good vs. evil, white vs. black, hate vs. love, white spots on the good guys, dark on the bad guys etc. It takes place in a non-specified modern time period. The main stage elements are a concrete circular Greek amphitheatre (Act 1 and 3) and a flight of Freudian steps going nowhere (Act 2).

Lohengrin stands out from the rest: He wears a silver suit. He appears through a vertical door of light. He plays on an inverted piano in Act 3, which disturbed Kent Nagano so much during the rehearsals that he asked Lehnhoff to exchange it with an ordinary piano (which he refused). This Lohengrin is clearly more interesting in his art (and ultimately in himself?) than in pursuing a relationhip with Elsa, a directory approach excellently suited to Klaus Florian Vogt´s strenghts as a performer. Everything ends in chaos when Elsa lies dead on the floor at the end of the opera.

There are virtually no weak elements in a cast chosen as much for dramatic as vocal abilities.

Solveig Kringelborn interprets Elsa (unless she simply plays herself) as a slightly naive/irritating woman. Vocally her upper-register vibrato may not be to my taste, but otherwise she is actually rather good.

Ortrud is one of my favourite characters in any opera, and I still regret never having seen the Harry Kupfer Lohengrin production at the Berlin State Opera in which Ortrud and Telramund allegedly were the good guys and Elsa indeed did kill her brother. As a new Lohengrin will be staged next season in Berlin, it seems a production of the past.

Waltraud Meier´s mesmerizing Ortrud, finally available on DVD, is vastly better than any of the competition on (or off) DVD and whatever one may think of Lehnhoff´s staging, this DVD is well worth owning for her Ortrud alone. Furthermore, Waltraud Meier is in superb vocal shape. In fact, I have never heard her less sharp in her high register than here, cutting through the orchestra like a razor-blade. And she has never looked better on stage than here in Act 2. Indeed, the Ortrud-Telramund scene from this production may be one of the very best opera scenes to ever be released on DVD (video clip below).

Telramund, basically a whimp, is a thankless part, but Tom Fox manages to infuse some dignity into him, vocally as well. Hans Peter König furthermore is excellent as the good-natured King Heinrich.

Finally, Klaus Florian Vogt is a curiously fascinating as well as vocally superb Lohengrin - his voice is powerful and clear with an effortless top virtually unheard of today. Furthermore he sings with plenty of nuance and dignity. He looks fine on stage as well. But a romantic hero he is simply not, with a strangely inexpressive face and an air more remniscent of a psychopathic serial killer than a swan knight. Either Klaus Florian Vogt, Lohengrin or both are in love with themselves (to be fair: Klaus Florian Vogt seemed a very pleasant guy in the bonus documentary)...

Kent Nagano is inspired throughout, keeping a relatively brisk tempo with plenty of energy.

A 60-minute bonus documentary is included, of which one may conclude that while watching Lehnhoff´s staging is both illuminating and entertaining, watching him talk about it is equally irritating. Furthermore a not negligible part of the documentary is spent inside Klaus Florian Vogt´s van, parked directly outside the Baden-Baden Festival House, and serving as his home away from home...

Which is the Lohengrin DVD to own? This one, in my opinion. For a traditional production, Claudio Abbado´s Vienna production (with Plácido Domingo and Cheryl Studer) is wonderfully conducted and sung (Ortrud apart), but gives the impression of being trapped in the dark medieval ages with no escape.

For an entirely deconstructive take on Lohengrin, Peter Konwitschny´s Barcelona production may be worth a look.

For various reasons, mainly related to casting issues, I cannot honestly recommend either the early Bayreuth or the Metropolitan Lohengrin DVD productions.

Waltraud Meier and Tom Fox, Act 2. This scene alone is worth twice the price of the entire DVD:

Waltraud Meier and Solveig Kringelborn - Church scene confrontation Act 2:

The bottom line (scale of 1-5, 3=average):

Klaus Florian Vogt: 4
Solveig Kringelborn: 4
Waltraud Meier: 5
Tom Fox: 4
Hans Peter König: 4-5

Kent Nagano: 4

Lehnhoff´s staging: 4

General impression: 4 (downgraded after some thought - see the comments)

Wagner - five DVD recommendations for those who do not like (know?) Wagner

A reader has asked for a recommendation of three Wagner DVDs for those who do not like/know Wagner´s music. I will give five...

My main criteria for selecting these videos are simply those that I find provide the best introduction to Wagner´s music in relatively updated productions of a reasonable quality. Thus no Tristan, no Parsifal, no Ring, no vintage DVDs with historic singers. Comments and suggestions are, of course, most welcome.

A brief look at the attached videos may hopefully help to decide before buying..

1. The Flying Dutchman. Highly acclaimed production from Bayreuth 1985 by Harry Kupfer, who essentially sees the opera as Senta´s dream.

Final scene below with Simon Estes (Dutchman) and Lisbeth Baslev (Senta):

2. Lohengrin. Either 1) Konwitschny´s class-room staging from Barcelona Liceu in 2006. Very innovative Regietheater, where the opera takes place in a class-room, the protagonists being children. Definitely a fresh view on the work. To be honest, I do not like it, as it takes too much focus away from the music, but for those unacquainted with Wagner, it may serve as an entertaining introduction.

Lohengrin and Elsa´s wedding in the classroom (John Treleaven, Emily Magee and Luana DeVol):

or 2) the elegant Lohengrin choice: Lehnhoff´s production from Baden-Baden 2006 - my personal Lohengrin favourite, not the least because this features the incomparable Waltraud Meier as Ortrud.

Below - the confrontation between Ortrud and Elsa in front of the church (Waltraud Meier and Solveig Kringelborn):

3. Tannhäuser: David Alden´s modern, very aesthetic Tannhäuser production from Munich 1994.

Confrontation between Tannhäuser (René Kollo) and Venus (Waltraud Meier):

4. Walküre - Patrice Chéreau´s historic staging from Bayreuth 1976. Still the most moving version I have seen of this work. Perhaps my top-recommendation for introducing oneself to Wagners work...

Below: Confrontation between Matti Salminen (Hunding), Peter Hofmann (Siegmund) and Jeannine Altmeyer (Sieglinde):

5. For those not keen on modern productions: Meistersinger from The Metropolitan Opera 2001. The best "traditional" Wagner DVD on the market, to my taste. With Karita Mattila, James Morris, Ben Heppner and René Pape.

Scene from Act 3 in Hans Sachs´ living room :

The Konwitschny class-room Lohengrin on DVD: Higly recommended for those who do not like Wagner....

Lohengrin. Teatro Liceu, Barcelona. 2006. Production: Konwitschny.Cast: John Treleaven (Lohengrin), Emily Magee (Elsa), Luana DeVol (Ortrud), Hans Joachim Ketelsen (Telramund). Conductor: Sebastian Weigle. Detailed information here.

On several occasions I have successfully recommended this DVD to acquaintances, otherwise not appreciative of Richard Wagner´s work. They typically respond with "so much went on at stage, that we did not have time to get bored". Which is the exact reason for my general disapproval of this production: So much goes on on the stage, that I lose all perspective of the music. How can you concentrate on the music when Ortrud throws pieces chalk in Telramunds face in the back of a classroom? I have tried. Several times, in fact, having seens this production in the theater in both Hamburg and at the Royal Danish Opera, as well as on this DVD from the Teatro Liceu, Barcelona recorded in 2006.

According to Peter Konwitschny the concept of this production is the result of a thorough analysis of both libretto and music. In his opinion, the characters interact much like children, making it a logic step to stage this Lohengrin in a classroom.

Opens Act 1: We are in a class-room. King Heinrich is the teacher, Elsa is the model-pupil, Ortrud and Telramund throw chalk around in classroom. They tease Elsa, who hides in a closet. Lohengrin then arrives and they fight with wooden swords. But Lohengrin, in essence, is a grown man, and when he kills Telramund in the third act with a real sword, the children's world fall apart and they are suddenly forced to grow up - their confusion and insecurities laid bare on the open stage.

It is a well thought out concept indeed. And Konwitschny convincingly communicates his message to the audience, and I even got it the first time, which is far from always the case. Indeed, I am not averse to such experiments with Wagner. Nevertheless, I must admit to not liking this production, the main reason being that all the action on stage completely move the focus from the music to the theater. This staging tells a story in itself. I am not sure it is Lohengrin´s, but that is less important. What is more important is, that Wagner´s music does not seem to fit in here, or even be an important element in telling this story. Which probably explains this productions success with audiences otherwise not drawn to Richard Wagner´s works. But I´ll have to admit to knowing several people with great love for Richard Wagner´s works who also love this production.

The work receives a fine musical performance and the singers fit well into the production concept led by Emily Magee´s nice (and slightly irritating) Elsa, Luana DeVol´s naughty Ortrud and John Treleaven´s somewhat out-of-place (intended) Lohengrin. Sebastian Weigle conducts a fine performance, though the orchestra expectedly does not match Abbado´s Vienna Philharmonics on a competing DVD.

Unfortunately, Lohengrin is not particularly well represented on DVD. I personally prefer the Lehnhoff/Nagano Baden-Baden staging. But I may not be representative of most potential Lohengrin DVD buyers, since my interest in Lohengrin primarily lies with the Ortrud-Telramund scenes, where Waltraud Meier/Tom Fox are unbeatable in the Lehnhoff production.

For the more traditionally inclined, the Vienna production conducted by Claudio Abbado with Plácido Domingo and Cheryl Studer as Lohengrin and Elsa is musically superb, although the medieval staging is dark and sinister.

Confrontation in the class-room: Zurück, Elsa (Luana DeVol and Emily Magee):

The bottom line (scale of 1-5, 3=average):

John Treleaven: 2
Hans Joachim Ketelsen: 3-4
Luana DeVol: 4
Emily Magee: 4

Konwitschny´s staging: 2-3

Sebastian Weigle: 4

Overall impression: 3

Katharina Wagner´s Lohengrin

Since most haven´t had the opportunity to actually see Katharina Wagner´s work, below I´ve posted two video clips from her Budapest Lohengrin from 2004. In particular the Final Scene gives a good impression of her style (as I gathered from her Meistersinger which I attended in Bayreuth a month ago).

Warning: Eva Marton is terrible as Ortrud - I´m amazed she´s still singing the part - already when I saw her Ortrud 6 years ago in Hamburg it was obvious that she was way way past her prime...almost as bad as Gwyneth Jones in Paris 1996 (if you don´t believe me check her clips out on youtube).

2nd act 1st scene:



Final scene 3rd act:


Cast: Ortrud: Eva Marton, Elsa: Sümegi Eszter, Lohengrin: Kiss B. Attila, Telramund: Béla Perencz Conductor:Juriz Szimonov. Budapest Opera House 2004

Vienna Lohengrin: In Wagner´s dreams

Lohengrin. Vienna State Opera. September 16th, 2006. Production: Barrie Kosky. Cast: Peter Seiffert (Lohengrin), Petra Schnitzer (Elsa), Petra Lang (Otrud), Falk Struckmann (Telramund). Conductor: Peter Schneider.

After more than twenty years with a Vienna Lohengrin from the darkest of the dark middle ages (also available on DVD), Australian native Barrie Kosky staged a new Lohengrin production earlier this season, predictably causing controversy as the first modern Lohengrin to be seen at the Vienna State Opera.

Barrie Kosky claims no interest Lohengrin as a historical drama. Contrary to Robert Carsen in Paris he does not see Lohengrin as a political piece. For Kosky, Lohengrin is about dreams, and this Lohengrin takes place in a fairy-tale dreamworld.

Tiny yellow wooden swans appear infrequently throughout the opera, but the dominating symbol is the chain controlling Lohengrin´s arrival as well as his departure. In the end Elsa collapses by the chain as her brother is returned in the shape of an embryo encapsuled in a water-drop - a dream figure as well.

The sets are simple and rather aesthetic, the major part of the stage held in black with bright yellow small houses/symbols presented continuously. This world of this Lohengrin is clearly an abstract world.

Importantly, Barrie Kosky chose to make Elsa blind and she´s walking around the stage guided by a walking stick. In theory, I find this a valid point, however it has profound dramatic consequences: All the elementary human tension between Elsa and Lohengrin (and Ortrud as well) is absent while Elsa waves the walking stick. And Barrie Kosky thus looses the elementary interpersonal drama of Lohengrin on the floor.

Muscially, the performance was first-rate. Peter Seiffert is vocally a superb Lohengrin. He hits the notes effortless, but an engaging stage presence he has never been. Paired with his off-stage wife Petra Schnitzer, a very fine and warm Elsa.

Petra Lang is an exceptionally fine Ortrud. She has dignity, she is not shouting, her voice is beautiful and she is a fine dramatic actress - a much needed Ortrud in the tradition of Waltraud Meier. Telramund suits Falk Struckmann eminently, both vocally and physically. However, he clearly was vocally indisposed and simply could not hit the notes in the 2nd act – which got progressively worse until he died, literally.. almost like watching a thriller.

The Vienna State Opera orchestra played brilliantly under Peter Schneider with an almost unearthly quality to the prelude and continuing at this high level throughout.

It is no small decision for a house like the Vienna State Opera to commission a "modern" staging of a civic treasure like Lohengrin.

Recent rumours have it a very distinguished Wagnerian conductor (whom I will not name here) refuses to conduct this production, which spurs additional rumours that a new Vienna Lohengrin is upcoming in 3-4 seasons in order to secure the services of said conductor. As always: We shall see..

Paris: Waltraud Meier´s mesmerizing Ortrud

Lohengrin. Paris Bastille Opera. June 8th 2007. Production: Robert Carsen. Cast: Ben Heppner (Lohengrin), Mireille Delunsch (Elsa), Waltraud Meier (Otrud), Jean-Philippe Lafont (Telramund), Jan-Hendrik Rootering (King Heinrich). Conductor: Michael Gürtler.

Robert Carsen´s mid-90´s Lohengrin production for the Bastille Opera takes place in an unspecific war/post-war setting. Everything about this staging speaks war and desolation. Ít is dark and grey, entirely without warmth or comfort. The people of Brabant appear in ragged clothes. The King wears the uniform of a General.

To this land of war without hope, Lohengrin suddenly arrives - on a swan. He clearly comes directly from Paradise as illustrated by the lush green background scenery from where he appears - and ultimately disappears. Upon his departure, he brings back a leaf from one of these paradisic trees and plants among these warriors as a sign of hope - evil is conquered at last.

The center of the action was Waltraud Meier´s mesmerizing Ortrud. Her radiance is magnetic and even though she doesn´t even sing a note in act 1, she still manages to be the center of attention. Her razor-sharp voice effortlessly filled the auditorium (on pitch as well) in a shattering portrayal of Ortrud, which I do not expect to be surpassed in my life-time.

Compared to this almost unnatural tour de force Mireille Delunsch actually was a rather fine Elsa. She has a very floating and expressive way of singing, which suited Elsa well.

Ben Heppner was Lohengrin, and though he may have a beautiful voice, he is distinctively unexpressive. On top of this one may add his mediocre dramatical skills - basically he seems to have 2-3 facial expressions, to be used at random.

Jean-Philippe Lafont was a rather weak Telramund and also Jan-Hendrik Rootering seems to have his future behind him. Evgeni Nikitin as the Heerrufer, on the other hand, was excellent. As was the orchestra, conducted by Michael Güttler in his only performance of the otherwise Valery Gergiev-conducted run.

The evening, however, belonged to Waltraud Meier.

Konwitschny Lohengrin: Battle in the classroom

Lohengrin. Royal Danish Opera, January 2007. Production: Peter Konwitschny. Cast: Stig Fogh Andersen (Lohengrin), Ann Petersen (Elsa), Susanne Resmark (Ortrud), Kjeld Christoffersen (Telramund). Conductor: Friedemann Layer.

Peter Konwitschny represents a lot of the things I appreciate in opera directors, most importantly the courage and insight to re-interpret standard repertoire with no regards to conventional concepts of opera staging. His productions of Tristan and Isolde,The Flying Dutchman and Elektra range among my top operatic experiences. On the other hand I don´t understand his Parsifal. This is not the problem with his Lohengrin: I understand it just fine, I just don´t like it, for the reasons outlined below.

This production originated in Hamburg approximately 10 years ago with Inga Nielsen as the original Elsa and has also travelled to Barcelona, where it is released on DVD from Barcelona Liceu. In Copenhagen performances took place in the new waterfront Copenhagen Opera House.

Peter Konwitschny´s Lohengrin takes place in a class-room: Elsa is the Miss-Perfect-slightly-irritating-girl, King Heinrich is the teacher, Telramund and Ortrud are naugthy pupils. Everyone throws chalk and sponges around the class-room and play with tree swords. Elsa hides in the closet because Ortrud teases her. Lohengrin appears through the floor as the only adult and when he eventually kills Telramund with a real sword, everything falls apart and the kids suddenly have to grow up. Peter Konwitschny has explained that he, based on Wagner´s text, finds the characters (inter)act in childish ways, thus this classroom setting.

And why it doesn´t work, in my opinion? I am no fan of traditional performances and have no desire for knights, swords and a swan in Lohengrin. But all this frenous stage activity simply moves the focus away from the music. This is Wagner for people who do not like Wagner. Furthermore, I miss the interpersonal drama in this institutional set-up.

Musically, it was a huge success for all involved.

Stig Andersen is a fine Lohengrin. Fine acting, emotionally believable, though he has to struggle for the top notes. Matched by Ann Petersen´s touching Elsa, changing from schoolgirl to adult.
Susanne Resmark was voted best opera performer of the season for this Ortrud. She has the ability to project her voice into the auditorium, but I don´t find her voice particularly beautiful and being quite a large woman severely limits her possibilities of creating attractive female roles on stage. Though she makes up for much being a superb actress, as her DVD-Erda clearly demonstrates, making the maximum identification with her parts.

Friedemann Layer had great success with the orchestra, creating a beautifully transparent sound.

In summary: If you don´t like Wagner, this is a good place to start...

Photograph from Kgl Teater