Interview: The conductor Christian Thielemann talks about the Bayreuth Festival

So now the "Lohengrin": When the last notes of the first opening will be off Wednesday, Christian Thielemann (59) will have directed the ten operas of Wagner listed in the Bayreuth Festspielhaus. A realization that had previously been performed only by the conductor and composer Felix Mottl (1856-1911) of Austria. The rehearsal phase with director Yuval Sharon and artist Neo Rauch, who designed the scenography, felt the musical director relaxed – even if a new singer was to produce for the title role in a short time. Piotr Beczala jumped in – also thanks to Thielemann, the main driver of the Saxon Staatskapelle Dresden. Kathrin Zeilmann (dpa) spoke with Thielemann

After the cancellation of Roberto Alagna, it was quickly possible to find a replacement for the title role in "Lohengrin". They are considered to have once convinced Piotr Beczala to risk Lohengrin. Are you satisfied that he sings this role in Bayreuth?

CHRISTIAN THIELEMANN: The replacement is false, Piotr Beczala is not a substitute. It has happened a lot of things here amicably. I called him – and there were very accommodating concert promoters and directors who helped him and freed him from his obligations. I can only thank everyone who has been involved. And I am very satisfied.

With the direction of "Lohengrin" you complete your Bayreuth program. They then directed all of Richard Wagner's operas at the Festspielhaus. Is there a job that is particularly dear to you in this environment?

THIELEMANN: The beginning with the "Meistersinger von Nürnberg" was something very special, it was the time when [der langjährige Festspielchef] Wolfgang Wagner was slowly withdrawing. I was allowed to lead two productions of it – "Meistersinger" and "Parsifal". Very often, I think about working with him, how much he was there, what advice he gave us. But we never felt patronized, after all, he had already heard a lot of conductors here

What is the hardest work at the Festspielhaus?

THIELEMANN: I have a list of the three most difficult works. Surprisingly difficult is "The Flying Dutchman". This work is the most dangerous because it can quickly become very strong and undifferentiated. Also "The Masters singers of Nuremberg" are not without, but I found myself there very quickly. And I 'm also surprised with the "Lohengrin", how difficult it is to bring the floating sounds. Every opera has its own traps here.

What will you go through when the first "Lohengrin" finishes on July 25th?

THIELEMANN: After the opera is in front of the opera – you think, what things you can do better next time. I did not think it would happen in Bayreuth. Everything has happened in 20 years. And it's scary how fast 20 years go by, I still remember the first rehearsals here. But it is wonderful that it happened that way. And I've always been lucky with the directors. The current collaboration with Yuval Sharon and Neo Rauch is humanly brilliant, everyone is laid back and relaxed, we have a good time.

What is expected of Plácido Domingo, who sang here and now returns as head of Valkyrie

THIELEMANN: He repeated last Tuesday, everything is going very well. After all, everyone has to fend for themselves in the ditch and make their own experiences. But that will succeed.