Tannhauser: ROH, Covent Garden

[Guest]

I was at the premiere of this production last night....I heard beforehand that the 'word on the street' was not good and that various insiders had dismissed Tim Albery's interpretation as being fatally flawed.

In the event, I was quite impressed: we did indeed get a proper bacchanale at the beginning, even if it may not have been what Wagner envisioned. The cast could hardly have been bettered: Johann Botha, though not perhaps an authentic heldentenor (we all know those beasts died out long ago), is probably the only singer who can do justice to this repertoire at the moment. Eva Maria Westbroek was an excellent Elisabeth and Michaela Schuster managed to overcome the vaguely campy direction she was given as Venus.

Sadly, though, Albery was unable to overcome the problems inherent in the work itself: I think it is the most flawed of all Wagner's mature works (an opinion with which he concurred - 'I still owe Tannhauser to the world', he is said to have commented in later life). Act 2 marks time as drama and when it does try to burst into life, it gets bogged down in Victorian arguments about chastity and faith.

An interesting, if rather ugly, set that seemed to consciously mirror the interior of the ROH itself.

On the whole, then, a good and largely successful attempt at an opera that doesn't often come off. I would have loved to have seen Wieland Wagner's 1962 Bayreuth production (which was recorded by Philips), hailed by no less a person than Michael Tanner as the greatest single Wagner production he has ever seen.

Anyone else going to see the Albery production?

[Eine Alpensinfonie]

Is it the Dresden version or the Paris revision? I prefer the latter - not so much of Venus "complaining". One of my favourite Wagner operas

[Mandryka]

Is it the Dresden version or the Paris revision? I prefer the latter - not so much of Venus "complaining". One of my favourite Wagner operas

It's the Paris version - I don't think the Dresden gets much of a look in these days.

[gurnemanz]

It sounded great with some marvellous ensembles. We particularly enjoyed Christian Gerhaher as Wolfram. I was also not totally convinced by the set. Some feisty bacchanalia at the beginning but for my taste too much gloom and rubble + Balkan style paramilitaries later on. Most sane blokes would surely not think too long about what to go for.

[Frances_iom]

It sounded great with some marvellous ensembles....

agree - being in a low cost upper slips couldn't see all of stage and missed some of the bed activity - not sure most suitable opera to be broadcast on Xmas day tho! - what I could see of the Venusberg reminded me at times of the vigorous movement of the manx ferry in a force 8 (and had almost the same effect) - a bunch of yuppie hooligans racing round and making a vast amount of unneccesary stage clatter + whoops etc. The 2nd and 3rd acts saw the mock RoH proscenium arch (+ front of house curtain) as though levelled by an earthquake - the director also seemed to enjoy the sense of danger - the use of a great pit formed by sinking the stage floor in all acts and the use of many real candles during the contest (I did worry whether Elisabeth was to be immolated during that act instaed of quietly dying offstage in the final act. But overall will sound great on Radio

[BBMmk2]

Ive only heard Solti's recording. Has anyone any recomendations, prefrably DVD wise? Either Paris or Dresden versions.

[NickWraight]

Tannhauser

Having just seen this opera staged just once before, at the ROH in the mid 80s, and in a concert performance by COGS 15 or so years ago, Saturday musically was a revelation. Mr Botha may well be no actor but my god he can sing (not shouted and barely any real audible strain bar a very few moments in Act 3; it would be interesting to discover how he bears up as the run progresses) and these days would you hear better? No weak link in the cast, except the Shepherd Boy who should improve as the run goes on; Christoph Gerhaher outshone everyone.

Very grey and frankly dull production in Act 2 and 3 (1 was the best for me) even if it is a rare to find one that uses much of the technical facilities available. Quite what the metaphor of the ROH proscenium says of the directing team's attitude to the host venue I'm not sure given the Balkan/warzone setting and the deconstructionism: its not a production any other house is likely to borrow!

One point to note is that with most of the audience looking down onto the stage, someone really ought to have considered the visible movement of personnel and props beneath when the floor sank.

Bychkov and the orchestra are beyond praise. A gloriously organic reading which did not give the impression of being slow or measured: quite magical. It did, for me, highlight the wildly differing styles, given the tinkering that the composer carried out over many years, from French Grand Opera to the German Romantiscism typified by Weber and Tristan & Isolde.

[Donnie Essen]

I'll be going, but not til after Christmas. I haven't seen this opera before (the only Wagner one I aint', barring the earliest three), and don't really know it musically either, so I'll just be there getting to know the work. I looked for reviews today. Some pretty good ones out there. Another snarky one from that Igor dude at the Arts Desk.

[Mandryka]

Having just seen this opera staged just once before, at the ROH in the mid 80s, and in a concert performance by COGS 15 or so years ago, Saturday musically was a revelation. Mr Botha may well be no actor but my god he can sing (not shouted and barely any real audible strain bar a very few moments in Act 3; it would be interesting to discover how he bears up as the run progresses) and these days would you hear better? No weak link in the cast, except the Shepherd Boy who should improve as the run goes on; Christoph Gerhaher outshone everyone.

Very grey and frankly dull production in Act 2 and 3 (1 was the best for me) even if it is a rare to find one that uses much of the technical facilities available. Quite what the metaphor of the ROH proscenium says of the directing team's attitude to the host venue I'm not sure given the Balkan/warzone setting and the deconstructionism: its not a production any other house is likely to borrow!

One point to note is that with most of the audience looking down onto the stage, someone really ought to have considered the visible movement of personnel and props beneath when the floor sank.

Bychkov and the orchestra are beyond praise. A gloriously organic reading which did not give the impression of being slow or measured: quite magical. It did, for me, highlight the wildly differing styles, given the tinkering that the composer carried out over many years, from French Grand Opera to the German Romantiscism typified by Weber and Tristan & Isolde.

Couln't agree with you more, particularly about the boy soprano as the Shepherd. The rather wonderful treble on the Solti set spoiled me for this moment!

Yes, it was dark, but remember, this is a Tim Albery production - I don't think he does colour!

[Barbirollians]

I went to the final performance yesterday afternoon and I agree largely with Nick . I knew the music but not the story - it really is a preposterous pile of tosh even for Wagner to choose .

The production baffled me - I searched the programme in vain for an explanation of the ruined theatre in Act 2 - I suppose the desolate scene of Act 3 was designed to reflect Elisabeth's despair . I think we had a different boy soprano from the lad in the programme as he was not of Chinese descent and had a mop of curly hair and had a brave stab at the song .

Botha indeed sang gloriously but his bulky shuffling about the stage shows how used we have now become to singers that can act and look the part . Schuster and Westbroek were good without being understanding and the undoubted standout performance came from Gerhaher as Wolfram - what a voice and he made him just about the only sympathetic character in the piece . Elisabeth really needs to pull herself together !

The rest of the cast were very good I thought and the chorus , orchestra and conducting outstanding . The Paris version does indeed show the startling contrasts between the music composed pre and post Tristan . I thought the Venusberg ballet was fine .

[Mandryka]

Saw a very nasty review in the Daily Mail just before Christmas, which basically slated the production because of Johann Botha's bulk (no mention was made of his singing). Sad.

[Flosshilde]

I listened to it on Christmas Day - & very fine it was too. Perhaps listeners had the best of it.

Bachanales are difficult to do convincingly on stage. They tend to look rather tepid & unconvincing. I remember during the bachanale in the Tales of Hoffman once at ENO two gentlemen of the chorus (or corps de ballet) spread a blanket out at front of the stage & then disappeared under it for the rest of the scene - I think they were entering into not just the spirit! When SO did Samson & Delilah the Bachanale consisted of a rather fiendish banquet, with the diners in pig masks, which was quite effective - suggesting how completely different the Philistines were, & alien to the beliefs of the Jews.

[Prommer]

Bychkov was on fire - superb playing from the orchestra. Gerhaher has that lieder-like quality of stillness which arrests your attention. Botha was a star too - a very slight crack in the the Rome Narration was the only flaw vocally. Deeply satisfying.

[Simon B]

Saw a very nasty review in the Daily Mail just before Christmas, which basically slated the production because of Johann Botha's bulk (no mention was made of his singing). Sad.

That'll be this, presumably: http://www.dailymail.co.uk/tvshowbiz...nor-sings.html

Somewhere in amongst the snide remarks at Botha's expense are elements of an (arguably) legitimate point about problems of theatrical credibility in opera. However, stooping to said cheap abuse of Botha invalidates anything the reviewer has to say on the subject as far as I'm concerned.

I'm rather amazed to discover that the Daily Mail has an opera critic. Surely the real question as far as the DM is concerned is whether or not opera causes/cures cancer anyway?! It's certainly not a place I'd have contemplated looking for considered muscial opinion. Or much else really.

Anyway... I went on the 27th, and think I broadly agree with most of the opinions expressed earlier in this thread.

Wonderfully played, conducted and (for the most part) sung. Gerhaher's was the stand-out performance, commanding your attention with every note.

As for the production? Hmmm... I didn't feel too hard done by that I could only see 2/3rds of it from a sub-£You're-joking-right? side balcony seat. The plot and libretto of Tannhauser are, being generous, problematic IMO. In an opera in which (over the course of many hours) nothing much actually happens, some visual interest doesn't go amiss. It's just as well there's not a 4th act, as the next step in the production concept would have been to just opt for actual darkness for the duration! I did enjoy the Venusberg ballet, rather polite and debauchery-free though it seemed in the grand scheme of things.

Glorious music excellently performed, but not much was lost by closing the eyes for extended periods to enjoy it!

[Mandryka]

That'll be this, presumably: http://www.dailymail.co.uk/tvshowbiz...nor-sings.html

Somewhere in amongst the snide remarks at Botha's expense are elements of an (arguably) legitimate point about problems of theatrical credibility in opera. However, stooping to said cheap abuse of Botha invalidates anything the reviewer has to say on the subject as far as I'm concerned.

I'm rather amazed to discover that the Daily Mail has an opera critic. Surely the real question as far as the DM is concerned is whether or not opera causes/cures cancer anyway?! It's certainly not a place I'd have contemplated looking for considered muscial opinion. Or much else really.

Anyway... I went on the 27th, and think I broadly agree with most of the opinions expressed earlier in this thread.

Wonderfully played, conducted and (for the most part) sung. Gerhaher's was the stand-out performance, commanding your attention with every note.

As for the production? Hmmm... I didn't feel too hard done by that I could only see 2/3rds of it from a sub-£You're-joking-right? side balcony seat. The plot and libretto of Tannhauser are, being generous, problematic IMO. In an opera in which (over the course of many hours) nothing much actually happens, some visual interest doesn't go amiss. It's just as well there's not a 4th act, as the next step in the production concept would have been to just opt for actual darkness for the duration! I did enjoy the Venusberg ballet, rather polite and debauchery-free though it seemed in the grand scheme of things.

Glorious music excellently performed, but not much was lost by closing the eyes for extended periods to enjoy it!

David Mellor is the Mail's part-time Opera/Classical Music critic, though the Tannhauser review was, I believe, the work of David Gillard, more commonly associated with ballet.