After being at the center of the opening of the season at Bologna, this Tannhäuser (quasi) tutto tedesco è approdato al Valli di Reggio Emilia . Ieri sera seconda e ultima recita, dopo quelle di Bologna, accolte abbastanza tiepidamente (ad essere magnanimi…) E chissà se questa fama non proprio eccelsa non sia responsabile del desolante numero di vuoti che si notavano in platea e soprattutto nei palchi (unica consolazione: parecchi i volti giovani).
Apro con qualche considerazione superficiale e – come ama dire Amfortas – semiseria . È ciò che magari si può pensare a prima vista di questa produzione. Meanwhile, Guy Montavon he directed the work: for instance, and as if Lissner put himself on stage, say, the next Tosca at La Scala ( smile! ) Or as if you were to do Moratti also 'coach ( re-smile! ) Montavon is Swiss graft in Thuringia and Tannhäuser is set right there, as it happens. Too bad the good guy has lost its bearings, confusing east with west. And so, according to Erfurt, instead of looking at 40Km away to the west, toward Eisenach, the Wartburg and Hörselberg, has moved more than 40 km to the east, moving poet, troubadour and assorted females in that the Weimar close inside the library and half destroyed by a 7 year ago. And who cares? will say ... we are always in Thuringia and then: not by chance Padrissa teleported everyone and everything in Bollywood?
In making both the superintendent and the director but there is some advantage, valuable in times of crisis: if the manager realizes that the money is scarce, the 'artist provides on the spot to cut costs of production, beginning with those of the scenery (and perhaps those of his two-paycheck?) is, therefore, that there is almost nothing on stage, and what little there is stuff that apparently recovered in a landfill. Some movie or slide to be projected on sheets and mosquito nets, and that's it. But if the genius of the direction implies the presence of some extraordinary occurrence, just use the staff (already paid for anyway) the logistics of the theater, as firefighters and the like.
course, put like that, would drop their arms, let's face as well. Instead, behind this facade unpromising, there is also something (if not very) good!
The presence of the library (in the second act) and several books (now) directs attention to one of the key issues (although not unique) opera Tannhäuser Wagner and production in general: the role of art and artist in society. And the choice of the version to be executed - that of Dresden , so no bacchanalia - puts everything in the background of the problems of purely religious or ethical-moral, as the ratio of sex-religion-spirit and flesh.
The little red book that carries Tannhäuser is a kind of diary, a rough draft of notes ( Beethoven think he had always been one with him, and Wagner as well ...) which marks the artist's ideas and ideas for his works. Venus they tear out the pages on which the artist has pinned his longing for freedom (from the claustrophobia of Venusberg, but basically by himself and his own self-isolation). Pure Elisabeth carries a booklet (yellow), which in turn is a diary, but not the artist, but to his fans , one that was struck by the first artist's work and has documented , together with its reactions. Thrown them away, and delivered right to the artist, because she is now irresistibly drawn to the contents of the little red book (which is never open, keeping it almost as a relic, after the expulsion of Tannhäuser, in order to deliver it on his return from Rome ) And other books are delivered ai cantori perché vi appuntino le idee per le rispettive composizioni per la tenzone. La quale tenzone avviene nella biblioteca di Weimar, distrutta dal rogo di libri, che è l'immagine della Wartburg rimasta orfana delle opere dei cantori e di Heinrich in particolare. E nella quale un secondo rogo vorrebbe distruggere il libretto rosso, simbolo dell'arte depravata di Tannhäuser; libretto che invece Elisabeth , appunto, si incarica di conservare. E che, non vedendo tornare Tannhäuser, consegnerà addirittura a Wolfram , quasi a investire il nobile e innamorato cantore della missione di perpetuare la nuova arte che tanto l'ha colpita e portata in uno stato di contraddizione spirituale which will be resolved only through sacrifice. Wolfram will not know what to do, and it will still take it back to Heinrich in his final delirium. But just as the curtain falls (on shower that cleanses the Scottish artist) we find that q uel little red book is now kept in a modern shelf and is seized by a boy who shows to affect more than a beautiful colored ball!
Here is a Konzept which - in my modest opinion - centered in the most convincing way the essence of this Wagnerian drama. Which otherwise is sufficiently twisted ... and suffered, as amply demonstrate the myriad alterations Wagner which subjected him, never are satisfied. Starting from the search for cause-effect relationship with respect to the protagonist. At the end of the second act, after the scandal broke, Montavon presents us with a giant backdrop - taken after the fire - the interior of the Anna Amalia Bibliothek Herzogin ; side, written and indeed capital The poet does not belong to the world of the gods, nor the world of men .
I wonder if it is a sentence (in effect) written by Wagner in one of his megalomaniac pamphlet (it could well be in communication with my friends ) or confided - I know - a Liszt or Mathilde, in a moment of particular excitement ... It is a fact that represents the fate of the poor Tannhäuser (and the Wagner-40 years?) that fails to fit anywhere (whether in Paris or to Dresden). But it is only fault of society? Because, in the majority of MI Venusberg, he sings in Db, then in D, then Eb, and on the other hand, in the best Eb hymns of Wolfram & C comes out with a blasphemous nature MI! In short, a sort of reverse- Bastian, a cursed artist who can only find peace in the cemetery, along with his admirer and redeeming the holy Elisabeth . (As for 'artist Wagner , he should explain why the Overture from the beginning, the chorus of pilgrims in E natural, which seems a blasphemy when compared to Eb used for the purpose in the work: that is so as to better link up with the Venusberg, which opens onto the curtain, explanation is too trivial.) In short, the road to get to Parsifal, Wagner will do so again ...
About rearrangements, it is interesting that the solution has given the final Montavon, presenting a kind of mixture of what is now the de facto standard-of-Dresden (physical appearance of Venus and Elisabeth's funeral) and the set of 'Ur- Tannhäuser , where the Venusberg is just a hallucination of Heinrich and Elisabeth, you have only a distant reference to the rooms of the Wartburg, lit for his funeral. Venus is especially here in the theater feels (some may even glimpse, as she sings - score on the lectern! - In the old tub stage left) while the funeral of Elisabeth is just the singing of the choir, which sings the obituary.
dell'allestimento This minimalist, I come to the interpreters, where the notes ( smile! ) are perhaps equally pleased, although I do not feel completely talk about failure.
Meanwhile Reck : 50 years old the director gave a reading dry and minimalist ... ( smile! ) of the score, without emphasis and smash (unless, but dutifully, in the choral scene in Act II). His time, starting dall'Ouverture, I am pretty close to what seemed to require Wagner (Tannhäuser are detailed in metronome markings). Never has covered entries, and already this is not just quality. L 'Orchestra responded very well, both in the pit, behind the scenes.
The Choir, directed here by Lorenzo Fantini, confirmed its preparation: excellent in both plan dei pellegrini, che nei fortissimo dei nobili di Turingia.
Tannhäuser era Richard Decker : la voce non è proprio male (ricorda vagamente, anche nell'espressione, Domingo) ma francamente è parso in difficoltà (proprio di intonazione, credo) nella scena iniziale, chiusa con un Maria non propriamente da ricordare, il che ha fatto temere il peggio. Si è invece poi progressivamente ripreso ed ha concluso senza danni anche l'ultimo, tremendo sforzo del racconto di Roma. Assieme ad applausi, ha ricevuto un paio di buh (da un'unica fonte in platea, peraltro) che mi son parsi un pochino eccessivi.
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The Venus of Patrick Orciani was much applauded, though it did not go free from any flaw (from urletto) in the treble.
who did not deserve the two whistles (always from the same point of the audience) in a sea of \u200b\u200bapplause, was Orla Boylan, Elizabeth interpreter. For me, a performance more than worthy, if not excellent.
Protagonist of the evening Martin Gantner, Wolfram really a big, warm voice, clear and bright but, as befits the legendary Minnesanger .
Dignified test Enzo Capuano in the role of Landgrave, and significantly - despite the limited extent - that of the shepherd , the really good Guanqun Yu.
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Well, I'd say - as seen and heard yesterday - some criticism that followed the earlier performances I think are undeserved. The only one I feel I have to do is start time. Okay that Marcegaglia has now need to take advantage of our minutes ( smile! ) but start at 18 instead of at 20, I do not think he would fall our GDP.
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