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At the top of the hill, descending and flashing bluish: security forces in limousines, minibuses, vans and motorcycles, on foot and on horseback, grunting over their heads also in helicopter, in uniform or in civilian clothes. Every festival visitor felt two security people. In the vernacular of Upper Franconia, the premieres of Bayreuth with their celebrity ghost are considered the "Festival of Blue Light".
A little bluish, then, continued on stage: "Lohengrin", the blue miracle around the Grail Knight often incognito, this time in bluish, Blue-gray, also gray lead. Such subtle undertones dominated for two full acts before a strangely colorful-symbolic orange shimmer spread across the bridal chamber. This was once again completed with the poisonous green Gottfried, which Lohengrin outgoing barely evokes in general misery.
For color, this pairing is also the responsibility of the costume supervisor couple Neo Rauch & Rosa Loy. Apparently, he has become fashionable again to attract visual artists with stage badignments, and, like Kentridge in Salzburg and Baselitz in Munich lately, really tingling did not come there. The central idea of the electric pylon, planted in the middle of the Brabant Middle Ages of the first act, has something to do, but the dull realization with the cardboard that calls the monumental pillars of cypress or poplar sways badly.
Later Trübner, formerly Böcklin
The director poses as soloists and choirs. Even stranger is the illustration of the central act, first a slightly overgrown landscape like Trübner or Böcklin earlier, and the artists plummet strangely behind the rising trees.
American director Yuval Sharon paraded like a doubly talented and unsuspecting dummy. avoidance of a consistent direction of a person simply leads a "Lohengrin" against the wall. Wagnerfern was once Schlingensief, but he had genius. Sharon indulges in rancorous choral paintings, sometimes stiff, sometimes gloomy.
One sometimes thinks of the ancient Everding, who left the actors around him for hours, then waking the audience with strident gags. In the case of Sharon, this is the duel fighting over aerial or watery dueling with stuntmen (Act 1) and Lohengrin's S / M performance with Elsa tied to the mountaineer's rope (Act 3). ).
Nice interpretation? Sharon also wants to offer a bit in this category and argues about Lohengrin's attitude of authority and her narrow image of women. Finally, he denies Elsa the basic right of questioning. Well, it's just the commercial basis of the plot and as such can be clever for gossiping.
No second "Walpurgisnacht"
But not as if Wagner secretly had a second "Walpurgisnacht" in the lead with a praise There is then a lot of crosswind and share more than the statement of intent in the program booklet only on stage.
Bayreuth's current programmatic heads are partly to blame for the discomfort of this truncated novelty. The concept of decorations that was completed for years was to some extent a guide for game management, and fast cooking had to be distinguished, which means that instead of Anna Netrebko, Anja Harteros sang Elsa, there could be only one profit. Parts of Act 3 again at Ertr The baritone Tomasz Konieczny kneads the Fortellian in the Grell-pulpy and lets slip parlando or piano tracks in the inaudible – no trace of intelligibility of the words. Also the presentation of Waltraud Meier seems slightly handicapped, not only by an extreme show (final phase 3 acts, in fact a terrible moment), but more because of the directorial craze, to deny the "clbadic" demon.
Gralserzählung The short-term acting tenor Piotr Beczala, as Roberto Alagna had originally planned, might have suited the omen's preference for an "Italian" style of singing; Beczala sang with a pinch of metallic power and was the most convincing of the main characters. Also in the costume of the artisan a hero, and not so bad that the image of the story of Grally began to lie monthly with a group around a campfire audience .
Georg Zeppenfeld as King Henry and Silins Egils as Heerrufer had to agitate poorly or be pushed by the chorus. As Sangeskollektiv, the choir (repeated by Eberhard Friedrich) was above all a doubt. This is already sufficient in Christian Thielemann's capellmeister skill, which would also spur fancy casting, which would sparkle like unconventional or sensational decisions both commendable and debatable.
Thielemann, who is now all eligible for Bayreuth with "Lohengrin" Completed Completely, conducts a movement, breath and demonstrative style; The discrete and transparent chorus treatment is striking even with a large number of people. Orchestral, fluidum is as essential to him as transparency.
At first, a diffuse oscillating sound track emerged, whose flickering made appear the thematic figure during the dynamic increase. And in any case, the strings with their high "a" sounded subtle, poetic and irreproachable, and never the late colleague Joachim Kaiser complained on the occasion of an earlier representation of Bayreuth: as a stroke of whistle.
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