Tannhäuser

by Richard Wagner

seen by live streaming from The Metropolitan Opera New York on 31 October 2015

In a production originally given by Otto Schenk in 1977, James Levine conducted and Tannhäuser was sung by Johan Botha, Elisabeth by Eva-Maria Westbroek, Venus by Michelle DeYoung, Wolfram by Peter Mattei, and Landgrave Hermann by Günther Groissböck. The sets were designed by Günther Schneider-Siemssen, a name now from the past in Wagner lore.

Tannhäuser takes place in an identifiable time and location, and this production is totally naturalistic in both these details, with an atmospheric mountain road and way-side shrine for the Wartburg, and a grand hall for the singing competition. The costumes are sumptuously medieval, in subdued but warm tones and gorgeous fabrics. Nothing looks synthetic (which is not to comment on the actual fabrics used) and the bright blue and reds imported from illuminated manuscripts so often seen in recent historical or fantasy dramas were mercifully absent. It has to be said that the exterior scene in particular looked decidedly old-fashioned, given the current plethora of abstract Wagner productions, very like a Romantic painting come to life, but in some ways this was refreshing.



The major drawback is that the opening Venusberg scene was not convincing. We were in a murky grotto with various couples flitting and flirting in balletic decorum, with flimsy draperies adding to the aura of an Arthur Rackham illustration. The music is far more dramatic than this; but it is almost impossible to visualise effectively. The requirement of the Paris Opera to have a substantial ballet, which forced Wagner to revise his 1845 score in 1862, has proved a long burden.

However, the real success of the production lies in the singing and the orchestral playing. Both were magnificent. Johan Botha, a bulky and rather stolid presence, sang the taxing title role effortlessly, and he was matched vocally by both his Venus and his Elisabeth. Peter Mattei as Wolfram was in stunning form, investing the great 'Evening Star' aria in the third act with a beautifully warm tone. The minor parts were well sung, and the chorus were strong courtiers and stirringly devout pilgrims. Meanwhile the orchestra responded to James Levine's direction with a great sound.


Just occasionally productions that are nearly 40 years old still show great power, and this one still delivers when it is served by a cast and company as good as this.