F Let's change with the simplest: greet Christian Thielemann up to the toe. The deepest bow in front of Waltraud Meier (Ortrud) and Anja Harteros (Elsa) and Piotr Beczala (Lohengrin). Deep bow in front of Georg Zeppenfeld (Heinrich) and Egils Silins (Heerufer). And Tomasz Konieczny, who unfortunately falls from the top of the clbad, barks in at Telramund more than sings.
Otherwise, it was musically close to perfection. There is no better Wagner leader than Thielemann, Harteros and Meier do not form a clbad apart, and Beczala, who just joined a few weeks ago, sings that only Lohengrin's idea is strange and false. Especially for this production, the Polish is the perfect choice. A little more patience, please.
What is this staging? She is shameless. Because she's brutally turning Wagner upside down. But so that (for the moment) nobody notices it. This is not polite, but extremely intelligent. But from the beginning. The "Lohengrin", the most romantic opera of Wagner. When in doubt, it's quite simple: the unnamed knight comes as called, the murderer brother's debt accuses Elsa of Brabant in the divine judgment against the betrayal by the witch Ortrud Telramund and should now ascend the throne of the Duke and marry the saved.
The only foreign condition to shocked lovers: Elsa should never question her about her name, type and place of residence. When she does that, the world breaks. The Lohengrins and Brabantans are here without a new Duke. That Lohengrin, now condemned by the Grail Knights, with an eager prayer, releases the hereditary prince Gottfried from his swan life: rather the price of consolation.
And if you doubt everything and tell a different story? Well, the real revolutions on the hill are rare, just as Patrice Chereau shook the ring, no one has it anymore. But, but: Under the direction of Katharina Wagner, there was a lot of really good, really new, really brave. The new smoke Lohengrin joins perfectly. Oops: Smoke Lohengrin? Not Sharon-Lohengrin? Fact: The story of the staging is remarkable: as never before the responsibilities of the union masters have been mixed.
Neo Rauch and his wife Rosa Loy are officially responsible for the equipment, Yuval Sharon for the direction and Christian Thielemann for the music, but in reality it was probably a creative big bang, the quartet only not tired, to emphasize that. It all started when Rauch put in the CD six years ago and since Lohengrin "ran and ran and ran". The blue that now draws cold cold and without strength, was one of the first thoughts – it is central.
Rauch talks about the staging of the stuff, as if he was the director, Sharon completes or explains the scenography. Sometimes people even shared a house in Bayreuth. Thielemann, who has now headed all the hill's masterpieces, was also closely involved in the design. Thus, Rauch and Loy paid attention to the fact that the construction of the decor does not result in any restriction of the acoustics. In a world where dramaturgy and musical direction often act against each other, it is truly revolutionary.