Opera review: Lohengrin (1990)
Richard Wagner (ca. 1850)
In German with English subtitles
When the Duke of Brabant dies, his daughter Elsa is proposed to by Count Friedrich of Telramund, a nobleman greedy for power. But Elsa refuses, and in revenge Telramund brings her to trial for the supposed murder of her missing brother, Gottfried. The King of Germany declares that justice must be found by single combat. Elsa agrees, and waits for the arrival of the "Swan Knight," the noble protector she claims she saw in a vision.
When the hour of the duel arrives, a stranger appears on the scene. He wears no emblem on his sword or tunic, and, while he vows to fight Telramund for Elsa's sake, he warns her that she must never ask him his name or where he has come from. Meanwhile, Telramund's sorceress wife, Ortrud, sees this as an opportunity to get rid of Elsa and claim the throne of Brabant, once and for all.
Music: If, like me, you're more used to watching movies than stage or opera productions, then Wagner operas are for you...Lohengrin is no exception. Beginning with a short overture that sets the mood, Lohengrin is one continuous journey of music and story, with some soaring themes, powerful solos, and upbeat chorus melodies. The "theme songs" recur throughout the opera, giving the characters more personality. While I also like the Mozart-style operas, that have distinct arias, I felt like the music in Lohengrin was very personable and truly the driving force behind the opera, as it should be.
Story: Except for the ending, I loved the story: think of it as Cinderella, with elements of Ivanhoe. It's fantasy, but fantasy that is clean, beautiful, and surprisingly deep, exploring the power of faith and how even true love can hurt. Everything hinges on Elsa's faith, both in God and in the Knight she believes was sent by God. Telramund is a complex villain, torn between fear, good, and evil. The King is a devout man (in his own way), genuinely wishing that the innocent win and the deceitful are punished. And, by the end of the opera, Ortrud's malicious schemes are duly undone.
Spoiler (in white):
I was disappointed, then, at the ending, when the Knight is revealed to be from "the holy grail", and must, as a matter of duty, leave Brabant after telling his secret, having also lost his "superpowers". It really seemed to cheapen the story, by infusing it with so much myth. This, too, is after he has married Elsa. So, even after everything which happened, Wagner would have us believe that Elsa must still ultimately suffer. A pretty stupid ending, in my opinion.
Singing & acting: No complaints here. I thought the singers portraying the King and Telramund were particularly good. Plácido Domingo (the Swan Knight) was excellent, as always. His acting was top-notch, and his pianissimos in Act 3 were utterly amazing.
Costumes & sets: Bland, awkward, and dreadful in general. I think they were going for a "realistic" look, but it is incongruous with this opera and unimpressive even for realism.
Choreography: Unimaginative and painfully slow.
Overall: While visually Lohengrin was a weak film, the music and story made up for it, and I recommend it for those reasons. It's an opera I would certainly consider viewing live, either at a theater or Seattle Opera.
0 comments:
Post a Comment