A First Night Tannhäuser with a Silent Minstrel
The last time I was at the opera house when a lead withdrew at short notice, it was in Tosca, where a clearly unwell Bryan Hymel managed the first act as Cavaradossi before an enthusiastic Freddie di Tommasso lurking in the wings, getting ready for his own debut in the role later in the season, stepped in. On that occasion, the opening performance had a magic of its own. Tannhäuser last night was a different story. Stefan Vinke had to withdraw from singing the role a few hours before the opening performance and a courageous Oliver Mears appeared before curtain-up to let us know that the eponymous role would be walked by Stefan Vinke and sung by Norbert Ernst from the side of the stage. A major heldentenor role in the romantic repertoire, Tannhäuser, a flawed hero who becomes trapped by carnal lust, is vocally demanding and dramatically testing. Despite the valiant efforts of Ernst, even in the era of lip-synch there was something very disconcerting about last night’s performance – as much because Tannhäuser’s voice came from the wrong part of the auditorium.
Tannhäuser is one of Wagner’s earlier operas, but one that he continued to work on throughout his life, with four versions over a thirty-year timespan. For Wagner, it seemed to be a life’s work – just three weeks before he died he told his wife Cosmina that he still owed Tannhäuser to the world. The story is about the struggle between this world and the world beyond, between the spirituality of faith contrasted with lust. Tim Albery’s production, based on the final 1875 version, is a stripped-back staging that takes us to a desolate wasteland once we’ve left the hedonistic Venusberg.
Act One opens in Venusberg, in Tim Albery’s production a theatre within a theatre. Dancers perform a Pina Bausch Kontakthof style work (choreographed by Jasmin Vardimon) during the overture setting the scene for the entrance of Venus (Ekaterina Gubanova). Vocally impeccable, Gubanova is an impressive Venus. Despite her protestations and attempts to seduce Tannhäuser, he insists he must leave.
Back near his old home Tannhäuser hears a young shepherd singing. Sarah Dufresne’s acapella vocals in the role were magically haunting. One of the current Jette Parker artists to watch out for in the future. We hear the chorus of pilgrims in the background. Some of his old friends appear and try to find out more about where Tannhäuser has been. It’s not until Wolfram (Gerald Finley) tells Tannhäuser that Elisabeth has been pining and waiting for his return, that he agrees to go back to Wartburg.
Act Two opens with Elisabeth waiting for Tannhäuser’s return in the ruins of the hall. Lise Davidsen in her Royal Opera House debut in the role is a good enough reason to make sure you see this production. With effortless vocals, great dynamic range and power, she dominates the stage in Dich, tuere Halle. We saw her in Fidelio – last night’s performance was just as impressive. As Elisabeth, she is a youthful, innocent and virtuous niece to the Landgrave (Mika Kares).
The singing contest begins with Wolfram singing of a pure spiritual love. Next, Tannhäuser sings of true love as a burning desire, not spiritual devotion. A row breaks out as the other singers challenge Tannhäuser who ultimately sings a hymn of praise to Venus and lets slip that he’s been in Venusberg.
Davidsen’s vocals not only saved Tannhäuser from being attacked, gaining him a temporary reprieve to seek forgiveness from the Pope but helped bring the second act to a reasonable conclusion for a singing contest with a voiceless lead.
Elisabeth waits for the pilgrims to return. When she realises that Tannhäuser is not with them, she concludes that something has gone wrong. The music from Tannhäuser is sublime and it’s a privilege to have heard Davidsen’s interpretation of Elisabeth’s prayer. That is followed by the beautiful ‘Song to the Evening Star’, movingly performed by Gerald Finley as Wolfram as he confesses his love for Elisabeth.
When Tannhäuser does return he tells his friend that the Pope refused to forgive him, saying that just as his staff will never sprout again, Tannhäuser can never be redeemed. He is planning to return to Venus but is restrained by Wolfram. Elisabeth has died of sorrow and as he sees her passing by, Tannhäuser too dies. His final words are ‘Elisabeth pray for me’ and, a miracle occurs – the Pope’s staff sprouts green leaves and Tannhäuser is saved from hell.
Last night’s production was clearly not perfect. How can you stage an opera about a famous singer when that singer has no voice? Norbert Ernst, singing his heart out from the side of the stage, deserves our thanks for holding the work together at short notice. There were plenty of wonderful moments though, from the immaculate performance in the pit and the various off-stage locations by the orchestra to the charismatic singing of Gerald Finley and the sublime vocals from Lise Davidsen. Four and a half hours of opera seemed to magically pass in minutes and I’ll be looking for a ticket in the gods later in the season, with the hope of seeing Stefan Vinke singing the title role.
29 JANUARY–16 FEBRUARY 2023
Royal Opera House
Bow Street, London,
WC2E 9DD
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