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Arts hub, 18 May 2022 |
Jenna Schroder |
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Wagner: Lohengrin, Melbourne, ab 14. Mai 2022 |
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Opera review: Lohengrin
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A celebrated tenor performs one of his most iconic roles along with
a well supported cast.
Opera Australia’s production of
Lohengrin is, as advertised, the opera event of the year. Despite financial
concerns and company redundancies, Opera Australia has come back from COVID
and delivered one of their strongest productions to date.
Lohengrin
is an opera by Richard Wagner, a composer famous in equal measure for
transforming the possibilities of operatic music and being antisemitic. It’s
therefore a strange choice by director Olivier Py to place the fantastical
story in Berlin, bomb-stricken at the end of World War II. This historical
context doesn’t add anything to the narrative, though it’s clear Py is
trying to tell us something as sets, props and costumes are laden with
symbolism and European references. Unfortunately, in an Australian context
particularly, Py’s choices are too esoteric and almost certain to go over
audience’s heads.
The story itself is one of magic and myth, a
reverse Rumpelstiltskin with pacing that lacks dramatic structure and is
dated to say the least. Lohengrin, a heroic knight, saves a noble woman,
Elsa, from false accusations of murder on the proviso that she not ask for
his name. But nefarious plotters, Ortrud and Telramund, ensure she won’t be
able to resist temptation.
These narrative weaknesses are not
important. This production is a gift to the classical music community of
Australia, performers and audiences alike, and they’re here for the
company’s musical delivery of Wagner’s spectacle and to see world renowned
tenor Jonas Kaufmann. And neither disappoint.
Conductor Tahu
Matheson and the musicians of Orchestra Victoria are faultless. It is deeply
satisfying to hear them build such robust sound. The overture is a
particular showcase of this, supporting the many voices on stage.
Jonas Kaufmann as Lohengrin is exceptional in both musical and acting
technique. His vocal control is unmatched and particularly impressive when
his whispered singing resonates like crystal throughout the theatre then
quickly tumbles into powerful declarations. The transition between the two
dynamics appears utterly effortless and seamless. Lohengrin is clearly a
well known role for Kaufmann dramatically; he plays the noble and adoring
hero with confidence and smooth physicality.
Despite Kaufmann’s
strengths, the cast are not to be outdone, especially Elena Gabouri as the
sorceress Ortrud. Gabouri is electric and arresting. Her characterisation is
outstanding and easily one of the best seen in an Opera Australia production
in the last 15 years. When she’s at the helm, the otherwise drawn out story
seems to race. Despite leading Elsa into turmoil, the audience is drawn to
Ortrud’s side, aided by every sinister eyebrow raise and witty delivery
Gabouri laces through her role. This alone is a rare treat but Gabouri also
shines with her vocal chops, imbuing Otrud’s emotions into her delivery. She
is like honey when manipulating, piercing when plotting.
Lohengrin is
a triumph for the male chorus (Wagner leaving little for women chorus
members to sing). It’s fantastic to see them front and centre, thanks in
part to Pierre-Andre Weitz’s thoughtful set design, and they meet the
challenge of building musical momentum during climatic moments with ease.
Lohengrin’s lacklustre storyline and long duration makes it a
production for the committed opera-goer but it is, regardless, one of the
best performed productions Opera Australia has staged in recent years and
something not to be missed by appreciators of the art form who will be
guaranteed to witness a vocal spectacle at its finest.
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