Schenk's Tannhäuser, which premiered in 1977 at the Metropolitan Opera on December 2023, was a real song contest by all singers and related artists. They were polishing each other on each stage, relishing their roles, and the last one was memorable, especially the Pilgrims’ Chorus.Tannhauser is not religious teachings or confirmation of personal identity because I am not both Christian or German, but “Discover in Tannhäuser an emotional purgative or therapy – it powerfully exercises feelings of compassion.” Thanks to Joe Horowitz's review (the link at the bottom).
He mentioned Andrew Porter's review in 1977, “To do a Wagner opera in the way Wagner asked for it to be done.” also said, “Schenk Tannhäuser, proves just as presentable — and arguably more necessary — in 2023.”
He explained about Schenk's production, “Many points of conjunction between what the ear hears and the eye sees are unforgettably clinched. The action begins with the erotic Venusberg. Wagner asks for “a wide grotto which, as it curves towards the right in the background, seems to be prolonged till the eye loses it in the distance. From an opening in the rocks, through which the daylight filters dimly, a greenish waterfall plunges down the whole height of the grotto, foaming wildly over the rocks; out of the basin that receives the water a brook flows to the further background; it there forms into a lake, in which Naiads are seen bathing, while Sirens recline on its banks.” Schneider-Siemssen wisely doesn’t attempt all of this – but he poetically renders enough of it to get the job done. At the climax of the Venusberg orgy, Wagner makes everything suddenly and cataclysmically vanish, to be replaced by “a green valley. . . blue sky, bright sun. In the foreground is a shrine to the Virgin. A Shepherd Boy is blowing his pipe and singing.” A credulous rendering of this transformation, abetted by Wagner’s musical imagination, proves as breathtaking today as half a century ago.”
“The arts are today vanishing from the American experience. There is a crisis in cultural memory. How best keep Tannhäuser alive? Flooded with neophytes, the Metropolitan Opera audience is very different from audiences just a few decades ago. What I observed at the end of Tannhäuser was an ambushed audience thrilled and surprised. The Met is cultivating newcomers with new operas that aren’t very good. A more momentous long-term strategy, it seems to me, would be to present great operas staged in a manner that reinforces – rather than challenges or critiques or refreshes – the intended marriage of words and music. For newcomers to Wagner, an updated Tannhäuser would almost certainly possess less “relevance” than Schenk’s 46-year-old staging – if relevance is to be measured in terms of sheer visceral impact. ”
The main artists were, Andreas Schager, Tannhauser, the passionate Wagner voice, "his artistry ran the gamut from joy to despair." Christian Gerhaher, wolfram, "an elegant and intelligent lieder singer, his easy projection was a revelation, carrying the gentleness of his tone and impeccable articulation. Such a feeling of intimate connection to a voice is rare in this enormous building." Ekaterina Gubanova, Venus, "voluptuous sound was thrilling." Elza van den Heever, Elisabeth, " guileless faith with a light, shining tone and feathery vibrato - effortless projection. " Donald Runnicles, the conductor, "keeps an ideal pace, and the orchestra plays with a near-magical blend of color and warmth, full of details, glowing. "
After Gerhaher as Wolfram, sang "Abendstern" at 3rd act, it was tranquillo, the serenity. I've never felt my heart empty at Met like that. Then the key changed, suggesting Sharger Tannhauser's conflicts. He told the story about Rome. His serious Wagner singing was all coming into me because Gerhaher made me ready to observe Sharger's Wagnl art. In the one before the last performance, he was more emotional like Mime in Siegfried. The last day's Van den Heever's openness! I felt her concentration from pianissimo to fortissimo. It was the extra glossy voice, really bravissimo. I saw her mouth open and her jaw almost came off, but such effortless innocence notes and operatic dynamics were naturally associated with her characteristics and the role. Gubanova as Venus, mainly sings in 1st act. There is the famous aria, but I found her beauty in the later when she sang with Scharger, mid-long note, vibrato was more than Van den Heever has. I saw her 1st class mezzo vocal art.
Schager left his message on his SNS, “Being able to stand on stage in front of almost 4,000 enthusiastic visitors every time is something special. Here people laugh, cry and clap during the performance. I think that's great and this energy reaches us on stage and inspires us. Art, which is so often declared dead, is alive, and what's more, it shows us a way in which coexistence among people can work. Art is about emotions and skill and in the end a huge amount of effort goes into making the audience happy and moving.“
This is his word from the heart and We can see that the world's best musicians, audiences, and critics share a common awareness. It is a light in the people who are passionate about classical music.
Lastly, Met Choir's Pilgrims’ Chorus. The amount of voice replaced my all-good memory at Met in 20 years. It remains overwhelming.
Links
Met 2023 Tannhauser detail
FT review
Joe Horowitz review
