THE HANGOVER REPORT – The Met unleashes a sublime TANNHÄUSER

IMG_4471Last night, I caught what is surely one of the highlights of the current Met season – this fall’s revival of Otto Schenk’s ultra traditional 1977 staging of Wagner’s Tannhäuser, led majestically by maestro James Levine. Wagner’s early epic is a prelude of sorts, both story-wise and musically, to some of his later masterworks. Its plot – a heady mixture of Christianity, pagan mythology, and German tradition – anticipates later works like Parsifal and Die Meistersinger von Nürnberg. Musically, it bridges conventions of Romantic opera with the weighty seamlessness of his later Gesamtkunstwerks, or “total works of art”.

Although Mr. Schenk’s handsome storybook production lacks the compelling theatrical point of view of many of the Met’s recent productions (many of which are directed by theater directors of note), its simple, straightforward approach allows us to focus on the glories of this revival’s singing and playing, of which there are many.

The cast that has been assembled is absolutely dreamy. In the title role, tenor Johan Botha had the vocal stamina, heft, and beauty to bring Tannhäuser to thrilling musical life (though a fine actor he is certainly not). It was nice to see mezzo Michelle DeYoung bring real sensuality to her Venus, despite seeming vocally strained at some points. The handsome Peter Mattei was just stunning in the role of Wolfram, singing with ease, sensitivity, and style. Eva-Maria Westbroek made for an ideal Elisabeth, singing with a brightness and power that is necessary for the pivotal role.

James Levine conducted the Met Orchestra transcendentally. Under his baton, the score sounded luxurious and unhurried, but never lazy.

HIGHLY RECOMMENDED

 

TANNHÄUSER
Opera
Metropolitan Opera
4 hours, 20 minutes (with two intermissions)
Performances on October 15, 19, 24, 27, and 31

Categories: Music, Opera

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