Forbidden Questions in Music and Vision 20 dicembre 2012

Forbidden Questions A controversial 'Lohengrin' at La Scala, reviewed by GIUSEPPE PENNISI     Forbidden Questions A controversial 'Lohengrin' at La Scala, reviewed by GIUSEPPE PENNISI La Scala's 2012-2013 season began on 7 December 2012 with a new production of Wagner's Lohengrin. Although the season includes eight Verdi operas and four Wagner operas, the decision to open it with a Wagner masterpiece created a little controversy because 2013 is the bicentenary of the birth of both composers, and in Italy, La Scala is deemed to be a Verdi fiefdom. However, Verdi will have his dues with a new production of Traviata for the inauguration of La Scala's next season in December 2013 (ie still within the bicentenary year). On 7 December, tickets for the stalls and single seats in boxes were 2,400 euros each: thus the audience was mostly government and corporate sponsors. I saw the performance on 4 December at the 'under 30s' students and press preview. Jonas Kaufmann as Lonhengrin in Act I of Wagner's 'Lohengrin' at La Scala. Photo © 2012 Monika Ritteshaus. Click on the image for higher resolution The controversy became sharper and more bitter after the performance started. Wagner labeled Lohengrin 'grand romantic opera' and based it on three main themes: the unity of the German populations against the Hungarian invasion, the transition from paganism to Christianity and a love story based on total trust. [See Passion and Religion, 26 July 2012.] Dramatist Ronny Dietrich and stage director Claus Guth set the action in the courtyard of Wagner's villa, around 1900. With a few props, the scene becomes an upper class wedding room and a swamp. More significantly, the historical-patriotic theme and the religious aspects are not dealt with. Lohengrin (in an attire resembling James Dean in Elia Kazan's movie East of Eden) and Elsa (dressed as Claudia Cardinale in Luchino Visconti's film The Leopard) are seen as two neurotic outsiders in a capitalistic world crashing to the final tragedy. In East of Eden, the protagonist recovers from neurosis after his first full sexual intercourse. In this Lohengrin, the key to the dramaturgy isn't discovered until the third act: Lohengrin's coitus interruptus when, on his wedding night, he tries to have sex with his bride but she asks the three forbidden questions about his identity (Who are you? Where do you come from? Will you stay with me forever?). Such a psychoanalytical approach to Wagner's 'grand romantic opera' left many reviewers and part of the audience doubtful. Tómas Tómasson as Telramund, Jonas Kaufmann as Lonhengrin and Evelyn Herlitzius as Ortrud in Act I of Wagner's 'Lohengrin' at La Scala. Photo © 2012 Monika Ritteshaus. Click on the image for higher resolution Wagner was back in the musical part. From the first bars of the overture, Daniel Barenboim gave a solemn, almost mystical reading of the score. He gave emphasis to the melody and the harmony in the first act, atonality in certain points of the second act and a fast nearly agitato tempo in the third act. La Scala's orchestra and chorus responded beautifully. Jonas Kaufmann is a perfect protagonist: handsome and acrobatic (as requested by the staging), he has a very delicate 'legato', accurate phrasing and in the long third act aria starts pianissimo and slowly reaches the heights. Jonas Kaufmann as Lohengrin and Anja Harteros as Elsa (one of three sopranos who alternated in the role) in Act III of Wagner's 'Lohengrin' at La Scala. Photo © 2012 Monika Ritteshaus. Click on the image for higher resolution Evelyn Herlitzius (Ortrud) was clearly up to his standard. A scene from Wagner's 'Lohengrin' at La Scala. Photo © 2012 Monika Ritteshaus. Click on the image for higher resolution Ann Petersen sang an effective Elsa. René Pape was a well tuned-in King and Tómas Tómasson an adequate Telramund. Jonas Kaufmann as Lohengrin and Anja Harteros as Elsa in Act III of Wagner's 'Lohengrin' at La Scala. Photo © 2012 Monika Ritteshaus. Click on the image for higher resolution There were fifteen minutes of ovations, plus a few boos at the staging. Copyright © 20 December 2012 Giuseppe Pennisi, Rome, Italy LA SCALA RICHARD WAGNER LOHENGRIN DANIEL BARENBOIM MILAN ITALY << M&V home Concert reviews La Clemenza di Tito >>