Traditionally, Lohengrin has been performed either as a tragedy (Wagner's only one) or as a fairy tale. Herzog chooses this way. The famous filmaker choses aesthetics which are reminiscent of romantic paintings, such as those of the painter Caspar David Friedrich. The first act takes place in a gray landscape, dominated by two leafless trees, snowy, or swampy. Lohengrin appears in a magical aura of radiant blue beams. The second act takes place at night, with a starry sky and a big moon, in what appears to be the ruins of an ancient church, on the shore of the sea, which is recreated with real water. In the second half of it, the procession, which was asleep behind, wakes up to the sound of the trumpets that announce the dawn, and the image of a big Gothic cathedral is projected in the background. The third act takes place in an idyllic landscape, a green meadow, the marital bed is a bed with a silver swan, surrounded by rocks (Herzog wanted to surround the Festspielhaus with rocks, in a sort of pagan ambiance, but Wolfgang Wagner said no), in what seems like a pagan ritual, syncretized with the religious world of Lohengrin and Elsa, presided over a dense navy blue sky. At the end of the opera, Gottfried is a half-naked boy, with his body painted white and wearing the head of a swan. As Lohengrin leaves, it begins to snow, everyone becomes distressed, and in an unexpected gesture, Elsa and Ortrud shake hands, possibly forgiving each other or sealing a new alliance.
Henning von Gierke's costumes are simplified, discarding armors, opting for simple colored tunics, except for the antagonist couple, who wear stiffer suits, him wearing wolf coat, a nod to tribalism, and she wearing an intense red big dress. However, if the staging has beautiful costumes and sets, depicting a fairy tale world, it loses quality in acting, since there is not much movement on stage, the chorus and soloists adopt a static, sometimes almost motionless positions, moving quite little. There are inspired moments, such as Ortrud's look of rage in the second act when Telramund reproaches her for her misfortune, or Elsa's angelic expressions when she sees Lohengrin or when listening to his famous story from the last act. It is surprising that a famous film director chose not so much movements on stage, something more typical of productions of the past, when the artists stood on the stage and just sang. Like the Schneider-Siemssen's stagings at the Levine's Met, it is the artists who let their expressions to flow freely, conveying their own portrayals of the characters by mostly their singing.
However, in musical terms, if this recording has a singularity, it is that it is Peter Schneider's recording legacy for all time. This German conductor has been considered a "rutinier", someone who knows the work, has experience, who gives more or less reliable interpretations but they do not become mythical, sometimes not even notable or just mere accompaniment. However, conducting the Bayreuth orchestra, and with an excellent sound recording, Schneider manages to make the miracle happen, achieving one of the most beautiful versions of the orchestral preludes, in the entire discography of this opera. The orchestra sounds spectacular, more lyrical, more fairy tale-like, more angelic than passionate and dramatic, something that must have helped the cast on stage, since the rendition seems to have been respectful to their voices' volumes. Although in the third act the tempi do slow down a little, the level does not drop too much in what is a sublime orchestral direction. Schneider was at the peak of his career in those days. The Chorus as usual, excellent, brilliant in its great scene in the second act or in the wedding march from the third act.
Cheryl Studer's rendition of Elsa is, apart from Schneider and Herzog, the other great peak of this recording. With her beautiful voice, with such a sweet and lyrical tone, she is one of the greatest Elsas of recent decades. His interpretation of Einsam in Trüben Tagen is pristine, angelic, in the level of the greatest singers of this role.
Paul Frey did not get so many good reviews with this Lohengrin. His entrance in the first act is very good, but in the rest of the work, although he maintains the considerable volume and heroic tone, the performance does not stand out too much.
Ekkehard Wlaschiha, with his powerful voice and dark, villainous tone, is the main male voice, with an excellent performance as Telramund.
Gabriele Schnaut, with her distinctive timbre, is a remarkable Ortrud, with a tone somewhat lighter than a dramatic Varnay or Meier, which suggests a young but scheming, evil profile of this role, her high-pitched tone, and her powerful voice merge with an imposing stage presence.
Manfred Schenk, a light bass, has a devoted singing, but a just correct tone for King Heinrich, as well as Eike Wilm Schulte as the Herald.
Even with its ups and downs, this is a remarkable and extremely beautiful Lohengrin. Totally recommended, especially for lovers of classic stagings and beautiful aesthetics, and for those who prefer the fairy-tale approach to this romantic opera.
No hay comentarios:
Publicar un comentario