It was the heightened sense of movement, however, that didn’t always serve the production. Berlín, Staatsoper im Schiller Theater, abril de 2014
Momento de la representación de Tannhäuser de Wagner. Ultimately, this was a Tannhäuser that took place neither in the thirteenth century nor the modern age, but rather in the compellingly artificial world of the stage, a world where narrative and emotion are created through colour, sound and movement. Tannhäuser’s fellow knights went hunting in grey suits of early twentieth-century appearance, while the female guests at the song contest arrived in gorgeous pale blue-green gowns borrowed whole-cloth from one of Douglas Sirk’s Technicolor melodramas. The indistinct setting was further enhanced by costumes which only barely alluded to a fixed temporal reality. Only the second act, with its grand hall made from closely spaced hanging poles, suggested anything as definite as a location. When Tannhäuser awoke in the forest of Thuringia, the bright whites and undulating flesh tones of Venus’ grotto had been replaced with an all-consuming grey the hopelessness of the third act played out against little more than a copper-coloured floor and fog-enshrouded darkness.
#La opera tannhauser cast series#
Berlín, Staatsoper im Schiller Theater, abril de 2014Īpart from the opening scene in the Venusberg – set in a perspective-defying set that looked like a rotunda tipped on its side and functioned (perhaps accidentally) as a parabolic sound reflector – much of the action unfolded in a series of empty spaces given character and texture primarily through lighting and fog. Prudenskaya, Seiffert y bailarines en 'Tannhäuser' de Wagner. Its minimalism may have been born of a desire to keep the stage empty for dancing, but the subtle lighting, costume colours and groupings of singers on the stage resulted in no shortage of effective scenes and tableaux that would not have looked out of place on the cover of a sixties LP box. Such a harsh reaction seemed not only mean-spirited, but also wholly misguided: while, admittedly, not without its faults – most notably, its over-reliance on the continuous movement of the dancers – Ms Waltz’s staging was dramatically satisfying, visually engaging and, most importantly, subservient to the singers and the music. When Ms Waltz appeared on stage during the curtain calls, a few hearty boos from the back of the house could be heard through the applause.
Thus, as the centrepiece of this year’s Festtage, the Staatsoper have assembled a high-profile new Tannhäuser, featuring musical direction from Daniel Barenboim, choreography and staging from the occasionally controversial Sasha Waltz, and a cast of singers that would be difficult to surpass and while Ms Waltz’s archly minimal, dance-heavy production appeared to anger some, the première performance had all the markings of a future classic. Wagner may still have his detractors, but his gloriously outsized works of musical drama are still one of the most reliable ways to fill an opera house.
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Cast: René Pape (Landgraf Hermann), Peter Seiffert (Tannhäuser), Peter Mattei (Wolfram von Eschenbach), Peter Sonn (Walther von der Vogelweide), Tobias Schabel (Biterolf), Jürgen Sacher (Heinrich der Schreiber), Jan Martiník (Reinmar von Zweter), Ann Petersen (Elisabeth), Marina Prudenskaya (Venus), Sónia Grané (A Shepherd).
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