Wolfgang Wagner in Japan: Lohengrin, at the Tokyo Opera (1997)

In his late career, Wolfgang Wagner's productions at Bayreuth were criticised, specially his last  productions of Parsifal and Meistersinger, in which he mixed New Bayreuth minimalism with traditional elements, most of them from his acclaimed 80s stagings of the same operas at the same stage. There are lots of differences between his accomplished 1984 Meistersinger (the peak of his career) and his 1996 version of the same opera. Apart from the Green Hill, he directed Holländer in Seville and Dresden, and Lohengrin in Taormina (with Sinopoli) and Tokyo in the 90s. The Tokyo performances were telecasted and the extant video is the source for this review.

This Lohengrin, from a personal point of view, seems more beautiful and successful than his contemporary Bayreuth stagings. Unfortunately, the video quality doesn't make justice. Richard Wagner defined Lohengrin as his saddest opera. Furthermore, it shows, specially if done with a classical staging, how surrealistic faith in Middle Ages could be, and how toxic could be the dependance of a complete people in an idealized, idolized, divine figure of a leader without whom they are unable to do anything and seems unquestionable. One could wonder if Ortrud, even with the intention to harm, could be right when she calls it a "spell". And that's why the end is so tragical: the sudden and definitive loss of this super-hero is a cruel awakening to a dangerous and uncertain reality. The grandson of the composer tries to take this to the ambiance in this production, even when similarities with his own past stagings could be found.

First act, reminding his 1953 Bayreuth production, opens showing a dark-blued day setting, with a big white oval-shaped center looking like a big frozen lake. Several branchless trunks surround the stage. The arrival of Lohengrin is shown with an enormous, transparent swan appearing with a radiant, shining pale blue light. The second act opens with big staircases, surrounded by the dark, but as the act goes by, the lighting shows the complete scene: a fortress-like wall is revealed behind, to give the sensation of being at the Antwerp Cathedral. The first scene in Act 3 remind his own 1967 Bayreuth production: just a big royal bed with the shape of a golden crown, in whose reduced space the lovers will interact. At the end of the opera, after the return of the swan, it dissapears sinking in the floor to give way a literally emerging Gottfried, who runs to embrace Elsa. Lohengrin then vanishes by descending at the bottom of stage. Then, the dark blue sky turns into a grey sunset and the curtain falls.

The costumes by Jorge Jara were accomplished: simple for the chorus and male characters, very rich for the females and the King. The latter one wears a golden top armor, and Elsa and Ortrud are richly dressed, the first one wearing a beautiful dark blue gown. Ortrud in addition wears a golden-coloured diadem, and an intense red dress in second act. Manfred Voss' lighting recreates the magic of Lohengrin's appearances as well as the tragic transition from blue to grey at the end.

Second cast: Taemi Kohama as Elsa and Kei Fukui as Lohengrin, not appearing in this video.

Hiroshi Wakasugi conducts the Tokyo Philharmonic Orchestra. Wakasugi is a renowned conductor in Japan, and worked in Europe for years. His rendition is romantic, sometimes opulent, in old-school style, taking under an experienced orchestra under his baton, a proof of the passionate wagnerism among the Japanese. The Nikkai Chorus is directed by the Bayreuth chorus master Norbert Balatsch, who reaches a great level, despite their cold expression, specially in the feminine section. Males have an excellent rendition in their Act 2 scene.

American tenor Albert Bonnema sings Lohengrin. His voice has a juvenile tone, heroic middle register but the high one is sometimes limited in the upper notes. Frances Ginzer is a nicely sung Elsa, with a dramatic sound, even darker than Linda Finnie as Ortrud. Finnie sang in the Barenboim Ring at Bayreuth, and her voice is higher than Ginzer's, what limitates her high register at the Finale. On the other hand, she is a great actress, conveying the arrogance, manipulating abilities of her character. Hans-Joachim Ketelsen is a correct Telramund, with a big volume, good singing but lighter than other colleagues. Hans Sotin, already a veteran, sings an unforgettable King Heinrich, with his still astonishing bass voice, his great low register and notes, as well as a powerful volume and royal, solemn presence. Hiroshi Kudo as the Herald is an excellent singer, with a beautiful, big baritone voice: a true luxury as comprimary and the best of the cast alongside Sotin.

The full-blown wagnerite audience gave several ovations to the cast and conductor. Wolfgang Wagner, visibly moved, took his bow with a big applause. This was probably one of his last productions. His purpose, apart from making the audience to enjoy the performance, was to show Lohengrin as a fairytale with a tragic, hopeless ending. He did it with his personal style, linking tradition and modernity.

In this link, you can see and enjoy this historical performance.

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