It turns out I may have a new second favorite Wagner opera. I love Tannhauser! The music is beautiful.
We had one of those rare perfect moments of theater on Sunday afternoon. Everything came together.
We started with this wonderfully sexy ballet. It wasn't that it was sexy that made it good. The choreography was so interesting and beautiful to watch. I would definitely see a full ballet with this choreographer, Jasmin Vardimon. The opening scene was so long that perhaps this was a full ballet. Anyway, wonderful.
Then we have the leave taking of Venus by Tannhauser. Johan Botha, who I've seen a large number of times, probably more than a handful, brought everything he had. Always good, he was excellent in this year. The program reveals he is having a Wagner year. Well, let that continue, please. The program also said that he approached the role in a bel canto way and I say - nothing wrong with that. It was absolutely the right approach. Surprisingly he had a super long night of singing and he came out warmed up and completely ready to go. He didn't ease into the role, he barreled into it. Bravo!
Venus was strong. I'm assuming that she was the one with the special announcement about feeling under the weather. She didn't have anything to apologize for, except for a possible slight hit in lung power. But, if it was her, then you wouldn't have noticed anything amiss. Except for every single named character being just amazing - that would make me want the audience cut me any sort of slack even if I wasn't under the weather.
Then, we have Tannhauser meet the old singing club with rifles upon his return. Sometimes if you swap out "singing contest" in Wagner operas for American Idol in your mind in Wagner operas it works. The rifles and the prolonged civil war made it a bit of a stretch, but you get the picture. Okay, this is when the night took a real turn for the better. The armed singers, minor roles, were amazing. You just knew we were in business at this point. Wow!
So, we have an intermission and there is a new character singing at the beginning of Act II, Amber Wagner (that last name, I know!) as Elisabeth and you are thinking "this broad could ruin the whole evening right here." And, oh no - she actually takes something going remarkably well and elevates it! Her voice is stunning. Perfection. Perfect timbre, perfect sound, huge lungs, perfect for Wagner. Wow, wow, wow.
We have the singing contest which is, gasp, interesting dramatically. And, beautiful vocally. The rotating singers, there is no weak link. Tannhauser lets it slip that he's been hanging out in the brothel of brothels and has learned love and it's actually a little shocking. He goes off with the pilgrims and their beautiful song.
Act III, he doesn't come back with the forgiven pilgrims. Elisabeth walks off into the distant heaven, in a clever piece of stagecraft. There is a black screen which opens for her to walk into the distance against a black backdrop. It is simple and actually worked. Tannhauser gives up on all this and returns to Venusburg, because you know, that's easier than all this - he learns Elisabeth, that angel has gone to heaven and his soul is saved at the last minute.
A perfect production.
Looking over Wikipedia, I only have one major opera to see for the first time left: Tristan. But, now I just want Tannhauser, The Ring, Tannhauser, The Ring and maybe a Lohengrin for fun. Lucky are those perfect nights at the opera, where you fall in love all over again.
Jasmin Vardimon
Jasmin Vardimon
Jasmin Vardimon
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