Wagner - Lohengrin (Vienna, 2024)

Richard Wagner - Lohengrin

Wiener Staatsoper, 2024

Christian Thielemann, Jossi Wieler, Sergio Morabito, Georg Zeppenfeld, David Butt Philip, Malin Byström, Martin Gantner, Anja Kampe, Attila Mokus, Juraj Kuchar, Daniel Lökös, Johannes Gisser, Jens Musger

Wiener Staatsoper Live Stream - 5th May 2024

Any work grounded in mythology can be used - and in the case of Richard Wagner's Lohengrin during the Hitler years abused - to have its meaning twisted. Whatever Wagner's original intentions for the work might have been, its nationalist expressions aligned to the will of god can be inherently problematic in the context of history and to present day viewpoints. Most contemporary stage directors will challenge this in some way - the most directly confrontational I've seen in recent years being the Olivier Py one - or prefer to take an abstract distanced approach. I think the latest production directed by Jossi Wieler and Sergio Morabito for the Vienna State opera is however the first that I've seen to attempt to subvert the traditional divisions in the work between good and evil. To be fair, it's more likely that the directors might be looking for a little more nuance to that position than is usually found in productions of Lohengrin, but that can often just end up muddying the waters.

Wieler and Morabito initially approach this then as something of a crime thriller. During the Vorspiel Elsa is seen disguised in boys' clothes, skulking around in a guilty manner, unaware that she is being observed in a courtyard by Ortrud from what appears to be the rampart of a castle. When she is challenged then about the disappearance of her brother, the successor to the line of Duke of Brabant, she displays none of the usual fear or cowering before the charges of fratricide levelled against her. This Elsa is confident of her position, wholly certain that her story of a knight in shining armour will be believed by the credulous population. She is not some helpless young woman being judged by society and the king, but seems to be the instigator and in control of the events.

The proposal in this production seems to be put that Elsa did indeed murder her own brother, throwing him into the lake - or attempt to murder him, since at the conclusion here, he reappears pulled out of the water. The motive for her action is perhaps not so straightforward. There may be an element of wanting to strike back against a very clearly patriarchal society that is against her from the outset, that will overlook any claim to title in favour of her younger brother simply because she is a woman. Perhaps she also wants to pin the blame for her actions and justify them as a way of rejecting a marriage to the scheming Friedrich von Telramund and expose him as someone interested only in using her - and accusing her - for his own gain.

When the hero appears to defend her, it does seem as if he is conjured by her suggestion, appearing here - in contrast to much of the period setting - in the traditional garb of a knight, complete with chainmail, armour and sword. Not only that, but his 'divinity' is suggested also by his Jesus-like appearance, with short beard and long hair in wavy curls. Whether real or merely a fantasy image that the King and the people of Brabant are willing to believe in, Lohengin's heroism isn't really put to the test as the mere effort of lifting a sword seems to place such a strain on Telramund that he appears to have a heart attack. "Du hast wohl nie das Glück besessen, das sich uns nur durch Glauben gibt?" Have you never known the happiness that is given to us by faith alone?

Whether asking us to accept this reading of Lohengrin as credible or a bit of a stretch, you have to consider any rational explanation of the myth as having a few holes or at least an ancient kind of admiration for chivalry and mysticism that is hard to reconcile with our times. How else can we accept Lohengrin’s demand that Elsa adhere to an unreasonable order not to know or even ask who he is? What is that but keeping a woman in her place and not questioning her man? That seems at least to be the premise or the perceived flaws that the directors pit themselves against in this production, like many others, not so much challenging it as perhaps finding a way to work with a work that remains problematic for many reasons, yet is still deserving of exploration.

It seems then that the intention is not to rationalise it nor indeed resort to undermining it. The measure of that is that this is not purely taking the feminist viewpoint, since it also paints Elsa as a murderer, a fantasist and a manipulator. Nor does it subvert the view by portraying Elsa as evil and Ortrud and Telramund as in some way good. It's not as simple as that. In a discussion about the intentions for the production Sergio Morabito refers to the Lars von Trier film Dancer in the Dark, and - without the production trying in any way to replicate the techniques used in the film - it's a good reference point for an oppressed and abused young woman's imagination lifting her out of the very serious situation she faces. It also establishes a more critical modern take on a fairy tale. 

Anna Viebrock's sets and production design settles consequently for some intermediate non-specific period, the fantasy castle ramparts of Act I looking more like a overpass of a road and a underpass entrance with graffiti on the wall by the time we arrive at Act II. There is obviously a militaristic setting that is crucial to the work, the army uniforms here similar to French soldiers in the trenches of the first World War, the women mostly in nurses uniforms. This aspect can't be avoided or overlooked, as there are other implications that you can draw from this particular opera and its legacy about a nation willing to go to war under the influence of mass suggestion, and this production seems to address that. Of course that means that Friedrich and Ortrud see through the willing delusion of Elsa and the German people of Brabant, but that doesn't necessarily mean that they are good and Elsa bad, just that they have their own agenda to push.

Tying this all together in a way that is coherent is a challenge that is not made any easier by trying to impose or suggest other readings or offer an alternative view of the work. The ending here does leave you with much to consider, and I'm not sure I grasped the implications of Elsa's brother, who may have been the inspiration for the mystical knight who bedazzles the people, dragging himself out of the river or canal at the conclusion to strike down Elsa, foiling in the process Ortrud's efforts to gain influence. Or something. Whatever it was it made for a powerful conclusion that matched the force and romanticism of Wagner's score.

Dramatically interesting and very well stage-choreographed, the fact that this has impact is also undoubtedly down to fine performances from Malin Byström as Elsa and David Butt Philip as Lohengrin, and another outstanding performance from Georg Zeppenfeld as Heinrich. His control, enunciation and characterisation is as close to perfect as you could hope. You'd think you might like occasionally hear someone else sing the role, but why settle for second best? The same goes for Friedrich von Telramund, where there are few better than Martin Gantner. Anja Kampe cuts a fine Ortrud even if it requires some effort on her part to hit the higher notes. She finds a good position to maintain between the opera's view of her as some kind of witch and a woman seeking to assert control within a male dominated and oriented society. Musically, as you would expect, it's a very fine performance from the Vienna orchestra under Christian Thielemann, the soaring full orchestral and choral elements utterly enrapturing.

External links: Vienna State Opera, Wiener Staatsoper live streaming

Mussorgsky - Boris Godunov (New York, 2021)

Modest Mussorgsky - Boris Godunov

The Metropolitan Opera, New York - 2021

Sebastian Weigle, Stephen Wadsworth, René Pape, Ain Anger, Maxim Paster, David Butt Philip, Aleksey Bogdanov, Ryan Speedo Green, Miles Mykkanen, Richard Bernstein, Bradley Garvin, Tichina Vaughn, Brenton Ryan, Kevin Burdette, Erika Baikoff, Megan Marino, Eve Gigliotti, Mark Schowalter

The Met: Live in HD - 9th October 2021

The opportunity to see a staged performance of the original 1869 version of Mussorgsky's Boris Godunov - even in a streamed live performance from the Met in New York - is something that should not be missed. Up until recently, you would have been more likely to see the 1872 revised version or a hybrid of both versions, but rarely nowadays (I haven't seen or heard one in my time watching opera) the Rimsky-Korsakov version. Watching Mussorgsky's original version of the work in a staging at the Paris opera in 2018, was something of a revelation and a sign that it could very easily become the canonical version of the work. The Met's production consolidates that reputation somewhat, but there are still a few reservations about how to best present this problematic opera.

There are certainly valid reasons why the later revisions of the opera were more favoured. Obviously no one wants to lose the additional music and scenes that Mussorgsky composed for the 1872 version, but principally there's the fact that the original wasn't considered to hold together dramatically. There's validity in that and it is something that is confirmed by Stephen Wadsworth's production, but what is also confirmed from the Met's performance of the work - as it was in Ivo van Hove's rather more successful staging of this version in Paris - is that even in its 'embryonic' form Mussorgsky's Boris Godunov is still indisputably a masterpiece.

The Met production consequently struggles to find a way to reconcile this contradiction between the quality of the music and the challenges of representing the dramatic material. Where Ivo van Hove was perhaps more successful than Wadsworth is in the efforts he makes to make the stakes of the drama feel more real - and indeed dramatic - by presenting it in a more recognisable context than the Russian history of the years 1598 to 1605. There are obvious connections to the modern world that can be made in a ruler's handling and manipulation of the people, and how that reliance on populism can turn just as quickly against him, but Wadsworth's production - like most 'safe' Met productions - makes no effort to even hint that there is still relevance in this situation today.

The closest we get to a representation of the context of the rule of Boris Godunov within the tides of history is one that fortunately, Mussorgsky (or perhaps more accurately, Pushkin, the author of the original work the opera is based on) included with the character of Pimen, the monk who is compiling a book of Russian history. This is presented as a huge oversize volume and maps spread out on the stage, testifying to the importance of this period of Russian history, its significance and the lessons we can learn from it. Some indication of where that could go might have made more of this, but it's effective on its own terms.

As generally is the stage production as a whole, setting the mood well and generally matching the dark tone of the work, filling the huge Met stage with the chorus, putting the all-important Russian folk onto the stage. Inevitably, despite the high production values, it does feels a little am-dram period, static and 'stagy' in its depictions of the drama. It doesn't really bare any teeth to really get across just how turbulent and violent this post Ivan the Terrible period of history is. Where is it perhaps most lacking however is in its failure to make the opera work on a dramatic level. That might be as much to do with the nature of the original 1869 version as it is with any deficiencies in the direction, but it still feels dramatically disjointed and incomplete.

Part of the problem for that could be down to the fact that Wadsworth's production was originally created at the Met for performances of the longer 1872 version, so in parallel with the removal of Mussorgsky's added scenes, the production also suffers the same cuts. I don't know whether Wadsworth was involved in the reworking of the cut-back production, there would certainly be some necessary changes made. There is perhaps an extended role for the Holy Fool, present spinning and whirling, mocking Boris even in his coronation scene, a representation of his own folly and madness, an attempt to give the drama additional weight by tying it into the dark Shakespearean horrors of Macbeth and King Lear.

Whether the stage production satisfies or not, the success of the production is nonetheless assured under the musical direction of conductor Sebastian Weigle. Musically its an absolute treat, if somewhat heavy going in its unwavering dark lugubrious tone that plays out for nearly two and a half hours without intermission. If the dramatic representation doesn't beat Boris Godunov down into submission to his fate, the music certainly does, and so too - all importantly - does the chorus. The work of the chorus is simply outstanding, ensuring that the solemn heft of the work carried the necessary weight and depth that was clearly audible in its impact, even in its livestream broadcast.

(On a side note, the quality of these broadcast livestreams - from the Met, Covent Garden and the Paris Opera as well - has improved considerably over the years with stunning HD quality images and powerful sound recording, with no more stream interruptions and breakdowns of communication. Alongside some good camera work - the Met's production directed well for the screen as usual by Gary Halvorson - that captures angles and closeups, it's becoming a great way to experience live opera in a time of restricted travel).

The quality of the musical performance and chorus certainly played an important part, but good principal casting and singing can make all the difference to any failings in the dramatic presentation. That was certainly the case here with René Pape singing the role of Boris. It's the performance of an experienced bass with great technique who also has the maturity to bring real human emotion to characters like Boris just as he has done with Philippe II in Verdi's Don Carlos. He puts real dramatic weight and character behind Boris, savouring the beauty and conflict of the role and Mussorgsky's extraordinary writing for it.

Pape's tormented magisterial performance is supported by similarly fine performances from Ain Anger as Pimen and Maxim Paster as Shuisky, both bringing long previous experience of heavyweight Russian opera and indeed prior experience of these Mussorgsky roles to similar effect. Supporting roles were also well handled, from Miles Mykkanen's Holy Fool to an enjoyable performance from Ryan Speedo Green as Varlaam, his reading of the ukaz, the wanted edict for the Pretender Grigoriy, enlivening a scene that can otherwise seem random and at odds with the tone of the rest of the work. All of this went a considerable way towards bringing across the sheer brilliance of this great opera despite some minor reservations about the stage production and direction.

Links: Metropolitan Opera, The Met: Live in HD 2021-22 season

Menotti - The Medium

Gian Carlo Menotti - The Medium

NI Opera / Second Movement

Oliver Mears, Nicholas Chalmers, Doreen Curran, Yvette Bonner, Will Stokes, David Butt Philip, Jane Harrington, Alison Dunne

Theatre at the Mill, Newtownabbey - February 15th, 2011

One of a number of smaller scale events being organised by the newly formed Northern Ireland Opera prior to their official inaugural multi-staged version of Tosca, where each act will be performed in different locations in Derry-Londonderry, the staging of Gian Carlo Menotti’s 1946 chamber opera at the Theatre at the Mill in Newtownabbey last night was a promising taster, one hopes, of a sign of the company’s adventurousness in its attempts to raise awareness of opera through performances of lesser-known works and through events that are less traditional in their presentation.

Menotti’s The Medium, a short 65 minute two act piece which has been adapted for film and television in the past, can hardly be called adventurous, but its production by Second Movement under the direction of NI Opera’s artistic director Oliver Mears, proved to be musically refreshing and the opera itself opened up some interesting ideas. Based on a real-life experience of the composer’s at a séance while holidaying in Austria with Samuel Barber, it’s tempting to compare the piece to Britten’s The Turn of the Screw, if only because of the sparseness of the orchestration and the ability of the instruments to evoke a spooky atmosphere, but while it remains similarly ambiguous on the question of what is real and what is imagined or projected by the protagonists, The Medium, with its more variably toned score, seems to touch on wider aspects of self-delusion and even mass-hysteria than Henry James’ tale of Victorian sexual repression.

Prior to this production, the only piece I would have been familiar with from this opera, or indeed from Menotti for that matter, would have been Monica’s Waltz, recorded by Renée Fleming on her album I Want Magic, and delicately performed here by Yvette Bonner, with a tone more appropriate to the age of her young character than Fleming’s dramatic rendition. It’s this piece, sung at the start of Act 2 by Monica the daughter of the false medium, Baba – or Madame Flora as she is known – to Toby, a young orphan with no voice found on the streets of Budapest and taken into the household as a servant, that opens up the opera to wider aspects than its central dramatic subject of a fake séance that goes terribly wrong. In it, the young girl projects onto the silent Toby all her romantic desires for going out dancing and to the theatre, giving him the voice that she longs to hear.

Monica’s desires are no different from those of the customers who come to Madame Flora looking to get into contact with their dead children – Jane Harrington’s recounting of the drowning of the Gobineau’s two-year old child was delivered most effectively and chillingly, fully expressing those emotions that bring them to the medium – as an attempt to fill the void that has been left in their lives. Even Baba actions, as can be judged by her rescuing of an orphan – even the fact that she mistreats him – her alcoholism and her attempts to feel important as Madame Baba, speak of a deeper void that needs to be filled, and Doreen Curran’s well-sung performance of the role is dramatically commanding and emotionally sensitive in this respect as her drink-addled confusion and fears of tapping into something more sinister pushes her into near-hysteria.

With each of the characters suffering from self-induced delusions of one kind or another, it might not be pushing it too far, considering the immediate post-war writing of The Medium, to consider this kind of mass hysteria and the dangerous places it can lead to as a reaction to the Second World War. There is nothing specific in the opera that leads one to consider it in those terms, but there is undoubtedly a correlation between the séance and a nation looking to someone like Hitler to give them a voice and sense of meaning, and – particularly in Toby, the opera’s silent character, one who significantly plays with glove puppets – there’s enough ambiguity to make wider associations. It’s in this necessary space that an audience is likewise expected to project their own desires, and it’s there that the opera is ultimately successful.