Lohengrin (Covent Garden - new production)

[Conchis]

I note that his production got a rare 4-star review from the Guardian's sclerotic and sartorially-challenged mugwump of a critic 'Andrew' Clements. This only reinforces my view that the production aint all that.....

[Stanfordian]

It's such an unusual voice and takes some getting used to, but he sings all the notes, sings in tune, has excellent diction and also has surprising reserves of power. We can do (and often have done) a lot worse these days.

If that sounds like damning with faint praise, it isn't meant to!

Hello underthecountertenor,

I agree that Klaus Florian Vogt's voice can take some getting used to. Whilst at one of his Berlin concerts I was recommended to take particular notice of his voice and I suppose I did.

[underthecountertenor]

I wonder how many people who claim to have 'enjoyed' this production saw WNO's vastly superior production of 2013?

There, the concept had been fully thought through and a firm commitment had been made to setting the opera during the First World War - I think the legend of the Angels Of Mons may have been an inspiration. Although probably done on a fraction of the cost of the ROH effort, that production had a coherence and a relatability sadly lacking in Covent Garden's current offering. It also had better ligthing: what, I ask, is the point of an expensive and elaborate set if you're going to bathe it in darkness most of the time?

I also stand by my comments about Nelsons: I find his reputaiton as a Romantic 'specailist' baffling and he was an especially poor fit for this opera, which lays no claims to being a great work of art, just a good, somewhat cheesy romance. Tbh, being a bit of a vulgarian doesn't hurt in this opera and that Nelsons manifestly aint - the moments that ought to have been heart-stopping, like Lohengrin's arrival, passed without a tremor. And Nelsons' worst tendnecy - a propensity to dawdle over detail - was too much in evidence throughout, but particualrly in Act 1. Georg Solti gives, for me, a near-definitive orchestral performance in his recording but he's no longer around: probably only Bychkov (whom I wish to God had conducted this!), of the current crop, could provide what's needed.

I take the points being made about Vogt but I fear I'll never like his voice, though he wasn't helped by the Barry Manilow/Neil Diamond outfit wished on him by Alden/the designer. I also like my Wagner tenors to sound vaguely masculine.

We get it. You didn't like it. Though why this justifies you in criticising a critic's dress sense escapes me.

[underthecountertenor]

Hello underthecountertenor,

I agree that Klaus Florian Vogt's voice can take some getting used to. Whilst at one of his Berlin concerts I was recommended to take particular notice of his voice and I suppose I did.

And I completely understand why.

bws

utct

[ARBurton]

I wonder how many people who claim to have 'enjoyed' this production saw WNO's vastly superior production of 2013?

.

Yes and it was wonderful! Peter Wedd, the Lohengrin, has I think sung Tristan for Longborough...

[Frances_iom]

just back from sitting thru it - musically + vocally fine (yes re Vogt was different but I had no problem with voice) tho Mayer (Telramund) had an announcement made at 1st interval that he was suffering from an allergic reaction (to what wasn't explained), apologised for voice but would soldier on - generally the diction by all the cast was excellent but the production seemed less than half thought thru, we seemed to veer from 50's east Berlin back to the middle ages all on stage together, at times the lighting seemed poorly thought thru with cast at front of stage blocking the light and too much extraneous stage movements were visible to those with side seats - maybe the more affluent who bought a programme could explain the idea behind it - however if there is a radio relay then this should be good. The previous production at RoH some years ago was IMO a considerably better interpretation.

[gurnemanz]

Just been through twitter comments, which are mostly very enthusiastic. Much praise for Goerke. Intriguingly, a Lohengrin first-timer wrote: "Even the drabness worked". On the interpretation, I've been fascinated by Wagner for the last 50 years, all the time trying to piece together exactly what he is on about and as far as I'm concerned all contributions are welcome.

[duncan]

Also saw this last night. Overall enjoyed it a lot, especially musically. Vogt’s unusual tone seemed very appropriate for this otherworldly character. Some might find the orchestra occasionally a little underpowered but we could always hear and usually understand the singers. I don’t know the piece well-enough to make a detailed comparison with other interpretations.

Brabant has recently experienced a savage war and is anticipating another. The current leadership are weak and the people are desperate for a saviour. Questions of national identify suffuse the opera. Setting it in 1920s mitteleuropa is not a big stretch. The christianity / paganism / holy grail dimension is not really addressed, although Indiana Jones fans will be aware of the enthusiasm the Nazis had for all this (a search for Lohengin with a non-tracking search engine throws up all kinds of far-right garbage).

I disliked the production in the first act which, visually, seemed an amalgam of many of the usual contemporary Wagner cliches. It grew on me however, and I certainly prefer it to the previous tableau (I hesitate to call it a staging) which brought to mind the Monty Python version of the story. The tale is clearly told, I always knew who was whom and where their loyalties lay, and there were some striking images.

The set and lighting nods to German expressionist art of that era, all dark shadows and out of kilter angles. The visuals gradually become more rectilinear and 1930s totalitarian in style over the three acts. I see what the design team were trying to do but, like many ROH productions, I wish the set designers had been given a bit less money. I have some sympathy with people who think, not another Wagner production with quasi-Nazi imagery, but I thought it worked and was quite justifiable take on the story..

The costumes are similarly a mix of the striking and the tired. From my thoughts on the ROH Meistersinger:

...can we please have a 20 year moratorium on long coat 'n' mullets for Wagnerian heroes?

Like the rest of the concept, the army in the third act are a mix of WW1, possibly inspired by German trench armour of that era, and medieval though 70s prog. rock fans (a considerable overlap with Wagnerians) will be reminded of this.

[Richard Tarleton]

I certainly prefer it to the previous tableau (I hesitate to call it a staging) which brought to mind the Monty Python version of the story.

Do you mean the Elijah Moshinsky version, duncan? It was pretty static, I grant you. I saw it twice, the first time with a great pairing of singers (Gosta Winbergh, Karita Mattila)...

[duncan]

Do you mean the Elijah Moshinsky version, duncan? It was pretty static, I grant you. I saw it twice, the first time with a great pairing of singers (Gosta Winbergh, Karita Mattila)...

Yes I did, but only the last outing with Johan Botha who defined static.

[Richard Tarleton]

Yes I did, but only the last outing with Johan Botha who defined static.

Indeed, I saw him, and that revival, too . Petra Lang's Ortrud was good though...... First time round, Gwyneth Jones screeched her way through Ortrud. Hugh Canning's review compared her curtain call to the irrelevant fat lady who used to come on at the end of the Morecambe and Wise show...

[Cockney Sparrow]

Yes I did, but only the last outing with Johan Botha who defined static.

I'm due to go in a few days.... I've learnt to take no notice of reviews - but thanks for the encouragement of your observations.

Johan Botha delivered the goods (vocally) in the ROH Turandot I saw, but I have to say his entry on the stage looked more like he was taking a look at the set before he went back to the dressing room to get ready for the performance - so maybe "static" worked well in the Lohengrin you saw.

[underthecountertenor]

To be broadcast on R3 on 7 July according to Observer review today.

[Conchis]

Yes and it was wonderful! Peter Wedd, the Lohengrin, has I think sung Tristan for Longborough...

Wedd's Tristan was even better than his Lohengrin: virile, commmittted, dramatically engaged. An excellent production, too, which made a positive virtue out of the (comparatively) tiny space.


I miss Johann Botha. He was physically limited as an actor, but he had the right kind of voice. I'd sooner listen to him as Lohengrin than Vogt.

[Richard Tarleton]

Richard - you are right . I read the Times digital edition and in fact read RM's review on Sunday not Hugh's who reviewed two entirely different operas .

At last, Hugh Canning's review in today's ST