Wagner's Die Feen in Vienna or the little approximation of an apprentice work.

Die Feen (The Fairies, in English) is the first of the three apprentice works by Richard Wagner, until he found his masterful style in The Flying Dutchman. During this first phase, he would be influenced by different styles, and in his first complete opera ( Die Hochzeit was his first attempt but he left it) the influence of Weber is easy to perceive. Weber was in the date of the composition of this opera, the most important opera composer in Germany. Nevertheless, we can hear some hints of what would come, Lohengrin, Tannhäuser or even Rheingold could come to one's mind.

                                       

This is the only Wagner opera with no video of any complete performance, excepting the Vienna State Opera version for children premiered in 2012, which is to date the sole DVD version of this opera to watch at home, since Die Feen is rarely performed. It was recently streamed on the website of the theatre, in last April, when the pandemic was at its height in Europe.

From the original more than 3-hour original version, this one is a reduction to 45 minutes, and orchestra is also reduced to a little ensemble, including piano. Kathleen Kelly conducted the orchestra and Waut Koeken was the stage director.

How to resume this opera about the love between a fairy princess and a mortal prince? Before the curtain rises, a voice (in German) ask the spectator if he or she believes in fairies or whether has seen one, and magic is everywhere. The only set is a dry grass, with a semi-buried car in it. The world of the fairies is suggested with a beautiful night sky full of stars, and the fairies with green skirts and flower crowns emerging from the ground. The human world is shown darker, with the heroes appearing tired, more rustical than the ethereal fairies. There are moments for the drama, for example when Ada sings her lament for Arindal's absence while she covers herself with a mantle while the sun is rising, still unaware of her beloved's return. At the end, love triumphs and while Lora and Morald wear their new crowns, Ada and Arindal celebrate love and their return to the eternal world of fairies, and the fairies playing with the children in the audience.

                                       

The cast is made up by good singers, led by Sorin Coliban (usual singer at major opera houses in Wagner roles, including Bayreuth), whose dark and big voice gave authority to his double role as Harald and the King of fairies. Gergely Németi as Arindal has a lyrical tenor voice, even when he faces some trouble. Daniela Fally is a well sung Ada, with nice high register and good voice, as well as a good actress. Caroline Wenborne sings with a remarkable voice, but Lara's aria is a bit tiring. The fairies Zemina and Farzana were well sung and acted by Donna Ellen and Monika Bohinec, respectively.

Even in a reduced version for children, this little approach to such a work has gone beyond its target audience and even it has been considered as an interesting version. Being the only option to see, this is a must for Wagnerians, to attend the magical world created by Wagner and reproduced beautifully for the Vienna Opera.

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