Richard Wagner - Lohengrin
Opéra National de Paris, 2023
Alexander Soddy, Kirill Serebrennikov, Kwangchul Youn, Piotr Beczala, Johanni van Oostrum, Wolfgang Koch, Ekaterina Gubanova, Shenyang, Bernard Arrieta, Chae Hoon Baek, Julien Joguet, John Bernard, Joumana El-Amiouni, Caroline Bibas, Yasuko Arita
Paris Opera Play - 24th October 2023
Surely the only impression you can have watching Act 1 of the Paris production of Lohengrin directed by Kirill Serebrennikov, is that Elsa von Brabant has truly lost her mind. About to face trial for the alleged murder of her brother, the heir of Brabant, who she claims was abducted by swans, she spins around in a bare room, scrawling on the wall, while abstract projections and dark nightmarish forces gather around her. The arrival of King Heinrich to oversee the trial doesn't seem to have any mollifying effect as she places a tangled ball of steel wool on his head has a crown. There doesn't seem to be any doubt about her state of mind, although some might be just as likely to think that the director and the Paris Opera has lost its mind with this extreme production of Wagner's early work.
The question however is indeed just how are you supposed to represent what is clearly a legend, the myth of Lohengrin as related to the sentiments underlying Wagner's overarching development of a national mythology, and how to place it on the stage in a way that draws on those underlying themes and meanings. It really doesn't stand up to much scrutiny if enacted as if it were real. Sure, Telramund might believe himself powerful enough that he doesn't even need to provide evidence against Elsa, but you would think he might hesitate and withdraw his accusation when a heavenly figure on a raft drawn by swans makes an appearance. Even the king recognises an emissary from God when he sees it.
Evidently the Paris production, arguably more extreme and abstract than even the Bayreuth production won't please everyone, with multiple rooms on the stage and bizarre activities taking place in each one of them. It's a very busy production, but it looks stunning and it does force the audience to think about what is really being told in the story. And, more importantly, it does so in a way that doesn't make it feel like an academic exercise - such as perhaps the Hans Neuenfels' mice in lab experiment production - but one that presents the true power of the work. The crucial moment of truth comes with Lohengrin's winning declaration and Elsa's promise to him backed with a chorus that is powerful and deeply touching. You must surely feel what is being presented here, even if it makes little coherent narrative real-world sense (as if Lohengrin ever did).
The real test of course, as suggested above, is in whether the cast and musical performance can convince you that there is such depths and humanity in the work. Few would dispute Wagner's ability to imbue the work with such character and the Paris production clearly intends to honour that with more than just a high production value am-dram period costume drama (no offence Dresden). Conducted by Alexander Soddy, the overture felt a little slow and thinly orchestrated, but as it progressed through Act 1 it was clear that it was a slow-burning build up. The abstract activities on the stage take the same approach, as that gradually coalesces into something huge and overwhelming, as indeed it should considering what is at stake. Even a fight with whirling light-sabres doesn't take away from that. It's just simply epic.
Having left you somewhat overwhelmed and bewildered, there is however evidence of a more prosaic reality going on in the second act, but one that depicts a no less deep struggle. It seems Serebrennikov is operating on a David Lynch-like level without using directly referencing the film director's imagery or style, aside from what at one point looks under lighting like a Twin Peaks Black Lodge red curtain. Elsa, it appears, is indeed a sick young woman. Telramund and Ortrud appear in a drab house where they could be abusive parents or step parents, until we see them don white medical coats to care for her in some kind of medical facility. It turns out to be a military medical facility, with soldiers quarters on one side and patients in the other. Elsa's wig is removed to reveal that she is undergoing some kind of treatment, possibly electro-shock, which might account for her visions of angels and demons.
But it's not so straightforward or easy to chart of course, the two visions of the world blended together, using doubles, dancers and mirror images. The Paris production defines the roles of Telramund and Ortrud in the cast list as as "military psychiatrists", so there is a suggestion that the production is taking in the psychological damage caused by war, which is - and often seems to be - a subject that relates to the what is going on in the world in the present day. Grieving mothers are briefly seen holding pictures of their lost sons before being shunted off. The wedding march at the opening of the third Act is not just the traditional one for Elsa and Lohengrin, but a lineup of weddings for troops about to be sent off to war and likely die there, war brides and grooms photographed before a backdrop of swans.
Previously seen here directing a similarly idiosyncratic production of Parsifal at Vienna in 2021 Kirill Serebrennikov attempts to mirror the wider context of Wagner's world of mythology throughout his works by linking it visually and thematically with his production of Parsifal. It's also clearly intended to have modern day relevance to the world we live in today, not just to make a political statement, but to show that Wagner remains relevant and addresses fundamental human issues. Even in an apparent fantasy work like Lohengrin Serebrennikov seeks to find a way to reconcile the mythological elements with the darker nationalistic and militaristic sides of the opera.
Make of it what you will (I personally thought it was magnificent, building to a hugely emotional and fitting conclusion), but there is little to fault in the casting or the singing. Johanni van Oostrum is clearly one of the most troubled Elsas I've seen but she maintained composure and a purity of tone. I've seen Piotr Beczala sing this role several times now, and he still doesn't disappoint. Along with Klaus Florian Vogt (who is in an alternative cast for this production), the two of them are among the best current tenors in this role, each with their own distinctive sound. There are a few signs of strain in the top notes for both Beczala and van Oostrum, but it's hardly surprising considering the challenges here and both provide solid performances in the main.
Wolfgang Koch is solid and reliable as Telramund, a role that requires character and Koch definitely brings something of that to it. Kwangchul Youn is another solid Wagnerian in the role of Heinrich a der Vogler, but most impressive of all in this performance is Ekaterina Gubanova as the irredeemable Ortrud. The role of the chorus is vital in this opera and they were outstanding. Alexander Soddy stepped into conduct following the early departure of Gustavo Dudamel, and in the pacing, build-up and delivery of the opera, conveying not only the full force of Wagner's score but putting it fully in service of the extraordinary stage direction, it was an exemplary account.
External links: Opéra National de Paris, Paris Opera Play
