Tannhäuser at Deutsche Oper Berlin
There are two conflicts at the core of the Tannhäuser plot: One between the ideas of purity, love, piousness vs. lust, sexuality, profanity. The other between societal norms and expectations to behavior vs. self-actualization and pursuing “interests” deemed as undesirable.
⭐️⭐️⭐️⭐️
🎭 Tannhäuser und der Sängerkrieg auf Wartburg
🎶 Richard Wagner
🏛️ Deutsche Oper Berlin
🗓️ 13.10.2024
“Quite envious of you having seen this performance”, my massive Wagner fan of an uncle writes me after I send him the cast sheet. “A crème de la crème of Wagner vocals”. Which the audience most assuredly agreed with, giving long standing ovation to the choirs, the soloists (indeed incredible), and perhaps most strongly, to the orchestra.
The staging at Deutsche Oper Berlin is simple but expressive, with a focus on costumes, colors, and a lot of vertical movement. Not only does the stage change from flat to sloped to staggered, but it also cleverly allows for people and props to appear from below (at one time implying fiery hell underneath), as well as from above. Right at the beginning, Tannhäuser in full armor descends in slo-mo (Sandra Bullock in Gravity anyone?) into the “sinful” Venusberg lust-grotto.
There are two conflicts at the core of the Tannhäuser plot: One between the ideas of purity, love, piousness vs. lust, sexuality, profanity. The other between societal norms and expectations to behavior vs. self-actualization and pursuing “interests” deemed as undesirable. Tannhäuser starts off sinfully and is torn between both (not even a papal confession will absolve him of his sins), before being ultimately saved by Elisabeth—representing purity and sacred love—who sacrifices herself so that she can ask God directly for his forgiveness (which works, ending the opera on a happy note, from a Christian perspective. Though they still both die at the end).
Again, the staging is cleverly able to visualize this metaphorical dualism. And, in the end, three hours of beautiful music and a gripping storytelling speed by. Say what you want about Wagner, but damn did he know how to compose music. To get back to what my uncle said: “Careful, or you’ll soon be infected by Wagner—his music is addictive!” After Meistersinger, Tristan, and now Tannhäuser at Deutsche Oper: he might be onto something.
