A Moving And Memorable Tannhäuser

For my last opera at this season's Bayreuth Festival, I joined the joyful throng of pilgrims in one of the most memorable productions I have seen in decades.

Tobias Kratzer's clever and intelligent portrayal of Tannhäuser offers a wealth of insights. He cleverly portrays the dichotomy of two worlds: Venusberg and Wartburg - Sensual and spiritual. It is a benchmark production that cuts through the many dividing misconceptions about opera. Its theatrical brilliance would undoubtedly revive opera in England.

In theory, it shouldn't have succeeded, but with the help of recorded and live video streams, a superb cast, a dwarf named Oskar, and a drag star performer, it was a true success.

For the first two acts, there wasn’t a minute without action or a second of boredom. It was fast-paced, exciting, and moving. Not that the third act was uninteresting, but the pace slows down a fraction.

As my Lieblingsouvertüre commenced, a video expertly transported us via drone photography to Wartburg Castle, the authentic setting for Tannhäuser and the Singers' Contest. The superb cinematic production then conveys us across the Thuringian forest and onto a road where we spot a camper van, all culminating, through expert technics, with the van arriving on stage.

The production introduced Tannhäuser (Klaus Florian Vogt) as a travelling clown, Venus (Irene Roberts), and Oskar with a tin drum (Manni Laudenbach), as well as the delightful, larger-than-life Le Gateau Chocolat; the latter two remain silent throughout the performance.

Eventually, desperation for food and fuel leads them to a Burger King. Oskar siphons off petrol and Venus hustles for food, but before they can get away, a policeman stands in front of the van, only to be maliciously knocked down by Venus, who then races off.

After a brief stop a distraught Tannhäuser jumps from the van and sleeps on the road. The next day, a passing cyclist finds him and persuades him to rejoin the singers at Green Hill. The Festspielchor portrays the audience as they make their way to hear the singers. The actual Bayreuth audience lapped it up, laughing at themselves! As the first act draws to a close, Venus, Oskar, and Le Gateau Chocolat make their way to Green Hill.

During the interval, the audience in the hall made their way down to the pond at the bottom of Green Hill for a short cabaret show, with Le Gateau Chocolat singing with a resonant baritone Ol' Man River and the Spice Girls' Wannabe while Oskar is in an inflatable boat. Serious Germans might not understand Le Gateau Chocolat's one-liners but it was fun to watch.

As Act Two opens, we are in Wartburg Castle for a recreation of the chamber where Tannhäuser is still performed, as well as live backstage via a black and white video screen.

Venus and her two companions climb a ladder and enter the opera house, but not before unfurling a banner over the balcony that reads, 'Freely Willing. Freely Doing. Freely Enjoying.’ Venus needs to get into the hall while Oskar and Gateau Chocolat wander around backstage. Remarkably, the split screen stage and video works.

Irene Roberts plays Venus well, capturing a comedique presence, especially as her character does not know what she is supposed to be doing. As the shenanigans continue, Venus manages to capture one of the pages and take her seat in the hall. The video captures the production team in great detail, with Oskar and La Gateau Chocolat causing chaos behind the scenes.

Eventually, Katharina Wagner, in a cameo appearance summons the police, who arrive in their cars racing up Green Hill. As Act 2 concludes, Tannhäuser faces arrest, and the distraught troupe departs. Finally, we see La Gateau Chocolat display a Progress Pride flag on the stage

As we left the hall for the second interval, it was enjoyable to see the ladder and banner in place.

In the final act, the circus troupe has encountered financial difficulties, leaving Oskar alone with the damaged van on a desolate stretch of land in Venusberg. Le Gateau chocolat has left and appears on a huge billboard as a successful model selling luxury watches. Oskar tenderly prepares Elisabeth's meal. Wolfran, who has always had a thing for Elisabeth, is persuaded to don Tannhäuser's old clown outfit. The duo make love in the van. However, knowing she can never be with Tannhäuser, she kills herself. But as the glorious tune reappears and the chorus builds to a thrilling conclusion, the magic continues as we see Tannhäuser and Elisabeth in the van heading off into the Franconian sunset. Where to? Let your imagination decide.

This was not just a theatrical tour de force. Wagner’s music was divine. Everyone acted superlatively. Tenor Klaus Florian Vogt, with his lyrical and well-judged nuances, encapsulated the essence of the role. Although he occasionally sounded a bit raspy, his flawless character portrayal impressed me. Markus Eiche also brought his fine voice to the role of Wolfram, as well as a strong performance in Song to the Evening Star. For the second time this week, I had the joy of hearing Elisabeth Teige. She was enchanting and magnificent, and her control was remarkable. The final aria with Wolfram was enchanting. Venus brought an incandescence to the role, energetic, animated, and charismatic, but without mawkishness. Günther Groissböck as Landgraf Herman was excellent, and the well-chosen cast performed their parts well, capturing the spirit that infused this production.

Well-deserved applause went to choir director, Eberhard Friedrich, who joined his vocal forces on stage at the end. The chorus excelled with strong and well-phrased singing that flowed.

Nathalie Stutzmann's conducting of this attractive score was magisterial, and the orchestra responded well to subtleties with elan. The haunting opening notes of the overture drew us immediately into the illusion, casting a spell that didn't disappear until the rapturous applause brought everyone back into the real world.

The musicianship was first class but it is not just the musicians who should be admired. This was more than just music - it introduced us to many creative new ideas.

It will be hard to watch a more traditional Tannhäuser as this is a production that will remain with me for a very long time; it was perceptive, funny, and exceptionally moving. 

A thrilling and captivating close to my 2024 Bayreuth experience.

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