Marlies'Artbeat: Under the Divine Baton of Levine, Wagner's "Tannhaueser" in HD

By Marlies Wolf

After a ten-year hiatus, the Metropolitan gives us back Richard Wagner’s ”Tannhaueser” in Otto Schenk’s traditional production, with the original set and costumes and with James Levine conducting. So for the first time in a long time, the Met could show off its majestic gold curtain -- a specialty of the house that most recent ultra-modern productions preclude.

The original Guenther Schneider-Siemssen set came out of mothballs very successfully and, as we learned during a fascinating intermission feature, so did a number of the old Zipprodt costumes. Those that were too threadbare were redone exactly as before.

It was Grand Opera indeed with the clichéd overture eliciting goosebumps on this critic at least. The “opera” which premiered in Dresden in 1845, and which Wagner revised a few times, most importantly adding the obligatory ballet in 1861 for a Paris production, had its Met premiere in 1884, the Met’s second year of existence. Between then and the aforementioned 2004 revival, it graced the Met’s stage 471 times -- obviously an audience-generator.

The libretto, as usual by Wagner himself, deals with the polarity of carnal vs. true love, and a song contest in Germany’s beloved Wartburg Castle. (The castle owes its fame to the fact that Martin Luther translated the Bible within its walls.)

The title character of the opera is based on an actual 13th Century Minnesinger (Minstrel). It is thought that the pious Elisabeth is mostly a Wagner invention, though possibly based on Elisabeth of Hungary (1207-1231) widow of the Landgraf of Thuringia.

In the opera she is in love with an errant Minstrel/Knight, Tannhaueser, who has been lured into a lengthy stay as Venus’s lover in the goddess’s underground rapture domain. (The ballet section with nymphs and satyrs in diaphanous costumes elegantly doing their thing, is a pleasure for the eye and ear. Frankly, the lovers themselves, only for the ear.)

Tannhaueser to Venus’s sorrow wants to return to the earth’s human reality. Invoking the help of the Virgin Mary, he is indeed transported and finds himself on a path with pilgrims on their way to Rome. He instead goes to the Wartburg to a song contest staged by Elisabeth’s uncle, where he is upstaged by the honorable Wolfram. Tannhaueser to the horror of all concerned, sings a prize song to Venus.

The only way to redeem himself for his sinful profane love-life in 13th Century society, is to get the Pope’s blessing via a pilgrimage to Rome. He sets off. Elisabeth suspecting he is lost forever, begs the Virgin Mary to gather her to her holy side, and dies happy.

Tannhaueser returns after much travail, is almost re-embroiled with Venus, but is indeed redeemed by Elisabeth’s prayers for him as he drops dead. A set of pilgrims come bearing the proof : the Pope’s staff that has blossomed leaves –- salvation for the errant knight.

Not the greatest story in the world, but not really deserving of Wagner’s condemnation late in life, when he called the opera “Meine schlechteste Oper” – (My worst opera.) Although an “Italianate” opera, it shows the direction Wagner is going: the Gesamtkunstwerk (Total Work of Art) where word and music are of equal importance and there is a progression of music/poetry/architecture/painting that led to artistic changes beyond opera all over the world.

Besides, ”Tannhaueser”. has the truly gorgeous overture, the lovely pilgrims chorus and the ultimate of clichés, Wolfram’s aria : ”O du mein holder Abendstern” –- his elegy to the evening star. (Odd isn’t it that we call that star Venus.) All these became clichés precisely because they are so good and consequently became eminent crowd pleasers.

“Tannhaueser” is part of Wagner’s so-called romantic period, which includes “Lohengrin”, and “The Flying Dutchman”. Ultimately his work evolved into the Music-Dramas which have excited the opera world ever since.

During our live “Tannhaueser” transmission, the enthusiastic audience at the house greeted Levine with tumultuous applause. It was really very moving. The conductor, who made his Met debut in 1971 has lead more than 2500 performances, more than any other conductor in the company’s history – 85 different operas in 45 seasons. He not only conducted fabulous performances but is credited with molding the Met orchestra into the foremost opera orchestra on the globe.

As usual, it performed marvelously here. And the Met assembled an international cast, which rewarded us with some sensational singing. The immensely challenging title role was filled by the South African tenor Johan Botha. He followed through with clarity of sound until the very end. But his lack of acting skill robbed the totality of his performance.

The Dutch soprano Eva-Maria Westbroek, whom you may recall as the winning Sieglinde in the “Machine Walkuere”, did herself proud as the saintly Elisabeth. The very best singing – and acting – came in the performance of Wolfram, by the Swedish baritone Peter Mattei. Also outstanding was the Austrian bass, Guenther Groissboeck, as Elisabeth’s uncle, the Landgraf Hermann. The part of the erotic Venus was ably sung by the American mezzo-soprano Michelle DeYoung.

Absolutely fantastic was the work of the Met’s mighty chorus. We met the main reason for its continued success when the ever- charming host of this HD session, the diva Susan Graham, introduced the chorus master Donald Palumbo. Her interviews with every important cast member revealed much of the singers’ personal views about their roles. Those conversations and the views of the intricate assembling of the sets, made the intermissions so exciting, most people stayed glued to their seats.

Some members of the opera world, however, feel the intermission features have robbed opera of some of its magic. They compare it to Britain’s Royal family, which by allowing cameras into its lives; has removed some of the mystery and therefore has damaged its mystique.

Others of the world-wide HD transmission audience feel is has consolidated our “insider” position and made us into a global family with a shared interest and shared knowledge. I’m on their side.

This return of a traditional opera felt like old home week, especially (dare I mention it) also because of the size of some of the leading performers. The Met in recent years has spoiled us with the lithe likes of Fleming, Graham, Kaufmann and Hvorostovsky, who not only are superb singers but splendid actors as well. We now expect more; are critical unless we are given perfection all around.

We did not get it 100% here, but were reminded that above all, we treasure great singing.

The encores of this “Tannhaueser” are at 6:30 PM on Wednesday, Nov. 4th and 1:00 PM on Thursday, Nov.5th.