The Wagner Festival opens the season with a production dominated by powerful images and strong voices – meeting with loud ovations for the soloists and only polite applause for the production team.
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A set shrouded in blue, a power plant straight out of the expressionist film "Metropolis," costumes seemingly inspired by Rembrandt paintings and protagonists wearing insect wings are some of the enduring images in the new production of "Lohengrin." The images created by German artist Neo Rauch and his wife Rosa Loy dominate everything else in this rendition of Richard Wagner's Romantic opera.
It's as though the spectator is drawn into a painting, with little to disturb the mise-en-scène. Even conductor Christian Thielemann said that his interpretation of the score was influenced this time by the set. Over long stretches of time, the protagonists sing their parts as statuesque figures. Stage director Yuval Sharon does not overlay the score with an independent vision but does have an original take in the third act.
To understand that, the plot in brief: In "Lohengrin," the title figure comes out of nowhere to rescue Elsa, a princess and the victim of an intrigue by Count Telramund and his wife Ortrud. The mysterious stranger agrees to fight for Elsa and to take her hand in marriage on one condition: she must never ask who he is, where he comes from and what his true nature is. They marry, but seeds of distrust planted by Ortrud bear fruit, and Elsa does ask the forbidden question — at which Lohengrin is forced to abandon her.
The twist on the plot comes in the wedding chamber, which is bright orange in the blue landscape. When Elsa starts to ask uncomfortable questions, her husband sings of love but ties her up with an electric cord.
Only when she asks him the forbidden question point blank is she able to free herself, as the mast overhead buzzes with electric energy.
Never do the two show love or tenderness; the liaison is a political arrangement.
Elsa and Ortrud are supposed to fall dead to the cataclysmically sad music at the end — so it says in Wagner's score — but Yuval Sharon has everyone else fall dead instead while Ortrud, Elsa and her revived brother Gottfried remain standing. The strong women survive, apparently to develop a new order.
Bayreuth’s Baroque Jewel: The Margravial Opera House
No venue in the world conveys the atmosphere and acoustics of a Baroque court opera house quite as authentically as this one: The Margravial Opera House has been a UNESCO world heritage site since 2012.
Image: picture-alliance/dpa/D. Karman
A place of history and culture
The renovation cost 30 million euros (34 million US$)- now the Margravial Opera House in Bayreuth shines brighter than ever. In addition to it being a museum, the Opera House is mainly used for concerts and drama performances during the summer months. Thus Bayreuth has a further touristic highlight next to Richard Wagner's Festspielhaus on the Green Hill.
Image: picture-alliance/dpa/D. Karman
A Baroque artwork
The Margravial Opera House in Bayreuth was built between 1746 to 1750 by the leading theatre architect in Europe, Giuseppe Galli Bibiena, and his son Carlo. In 2012, UNESCO made the opera house a world heritage site as the most significant and best-preserved example of a Baroque theatre.
Image: Bayerische Schlösserverwaltung/Achim Bunz
The Margravine’s pet project
The Margravine Wilhelmine of Brandenburg-Kulmbach wanted to turn Bayreuth into a brilliant cultural metropolis, and commissioned the building as part of her efforts. She was especially passionate about music.
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On a level with Europe’s best
Lavish use of gold in the decoration defines the auditorium. In the center is the royal box. Where the building’s size and magnificence were concerned, the art-loving Wilhemine looked to the great European festival theatres of her era in Vienna, Dresden, Paris and Venice as models.
Image: Bayerische Schlösserverwaltung
Baroque music and theatre
The opera house officially opened in 1748 on the occasion of the marriage of Margravine Wilhemine’s only daughter, with the premiere of the Italian opera “Artaserse,” by Johann Adolph Hasse. In addition to operas, splendid pageants and dance performances took place in the Baroque theatre. Nowadays it remains a lively venue.
Image: picture-alliance/dpa/D. Karman
A wealth of detail
The auditorium of tiered boxes or loges, with its structure of wood and illusionistic painted canvas, is also considered unique in the world because of its profuse carvings and decorations. The opera house has survived in its original form – a stroke of luck, as Baroque ceremonial theatres were often built only for a single lavish performance.
Image: Bayerische Schlösserverwaltung/Heiko Oehme
Loge theatre
In Wilhemine’s era, candles lit up the tiered loges. In the late 19th century, King Ludwig II of Bavaria, who was in love with technology, had the first electric lighting installed. Ultimately, the Margravial Opera House was the reason Richard Wagner came to Bayreuth, although in the end it proved to be unsuitable for his ideas on staging.
Image: Bayerische Schlösserverwaltung/Heiko Oehme
Restoring the original
Before the overall renovation, a dark varnish covered the auditorium surfaces. That was, among other things, due to mistakes in restoration in the 20th century. Now that the later layers of paint and grime have been removed, the auditorium in 2018 has regained its old brightness and splendor.
Image: dapd
The proscenium
During the restoration of the proscenium arch stage, additions from the 1930s were also removed, so that, since the opera house reopened on April 12th, 2018, present-day audiences can experience it almost exactly as people did in Wilhemine’s times.
Image: Bayerische Schlösserverwaltung/Achim Bunz
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Long stretches
It's a tale of female empowerment, explains Sharon, who correctly observes that the women characters in "Lohengrin" propel the action.
But before one arrives at that final insight, long and mostly uneventful hours pass with little to occupy the eye apart from the fairy-tale set.
In an outdoor scene with dark, ominous clouds in Act Two, the singers move in and out of reeds randomly and repeatedly for no apparent reason.
It's up to the viewer to guess why the court nobility wear diaphonous wings or why the sword fight between Lohengrin and Telramund takes place with the characters suspended mid-air.
A feast of voices
The soloists earned strong applause and many bravos, beginning with Georg Zeppenfeld in the role of King Henry. Piotr Beczala proved to be a virile, energetic Lohengrin who not only hits the high notes but sculpts the vocal lines. A triumph for the Polish tenor — and for his compatriot Tomasz Konieczny, whose warm baritone belies the character of the evildoer Telramund.
As Elsa, Anja Harteros is vocally strong enough to make everybody forget for the moment that her role will be taken over by star diva Anna Netrebko in two performances next year.
The longest ovations, however, went to Waltraud Meier, a Bayreuth veteran in the roles of Kundry, Waltraute and Isolde who has been absent from the festival for 18 years. As a high-decibel Ortrud, the 62-year-old filled the auditorium with her voice. Gone is some of this singer's edginess and shades of nuance, but she was celebrated no less frenetically.
Having left in rage, Meier seems now to have wanted to make her peace with the Bayreuth Festival, adding that "it's best to quit when things are best." This season will be her last on the Green Hill.
Generous ovations also went to conductor Christian Thielemann although he was plagued by orchestra and chorus drifting apart at several points in the first act.
The production team of Neo Rauch, Rosa Loy and Yuval Sharon finally appeared before the curtain to take their bows to noticeably subdued, polite applause, which will probably be booked on the positive side at the Bayreuth Festival, where stage directors are traditionally booed at the premiere.
Travel tips for Bayreuth – Wagner, Wilhelmine, and wheat beer
Once a year Bayreuth rolls out the red carpet for the Wagner Festival. If you haven't got a ticket, a visit to the northern Bavarian city is still worthwhile.
Image: picture alliance/dpa/M. Merz
Bayreuth from above
Small, picturesque, sleepy — for Richard Wagner, Bayreuth was the ideal spot, with nothing to distract him from his music. This is where he wanted to realize his dream of having his own festival theatre. Visiting Bayreuth nowadays, you'll be surprised how much there is to discover, in addition to the composer and his legacy.
Image: picture alliance/dpa/E. Hartmann
Festival Theatre: Limited season
There are only five weeks of performances a year in the Festspielhaus, or Festival Theatre — ten Wagner operas authorized by the master himself in repertory. The rest of the time the theatre is vacant. What a luxury! If you can't get a ticket for the festival, you can at least take a guided tour of the theatre. They take place all year long, except during the festival season.
Image: picture-alliance/dpa/T. Hase
The acoustics: The secret is wood
During the guided tour you'll find out all about the theatre's unique acoustics. Wagner himself designed the special shape of the tiered orchestra pit. He also used only wood, which resonates with the sound, for the stage and the auditorium. Audiences sit for hours on hard wooden seats, but they're rewarded with extraordinary acoustical quality.
Image: Imago/Karo
Margravial Opera House: Palatial world heritage site
A tour of Bayreuth's second music theatre, the Margravial Opera House, is also fascinating. This magnificent Baroque theatre has been a UNESCO World Heritage site since 2012. Wagner originally came to Bayreuth because of this opera house. At the time it had the biggest stage in Europe. However, he decided to build a new one, as the auditorium was too small for his mammoth projects.
Image: Bayerische Schlösserverwaltung/Heiko Oehme
New Palace: Welcome to Wilhelmine's world!
The New Palace bears the same imprint as the Margravial Opera House, that of the Margravine Wilhelmine. The sister of the Prussian king Frederick the Great, she married Frederick, Margrave of Brandenburg-Bayreuth. Here she had the existing structures redesigned or rebuilt in her own elegant style, now known as Bayreuth Rococo.
Image: picture alliance/DUMONT/G. Knoll
The Hermitage: A midsummer night's dream
Wilhemine also had this summer palace altered to fit the latest fashion, with a Japanese cabinet, music room and many water features in the garden. Every year the Hermitage, brilliantly illuminated, hosts Bayreuth's summer festival, one of the most romantic in Bavaria.
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Court Garden: French-English garden paradise
Straight avenues, waterways and fountains along the way - aha, a French garden, connoisseurs might say. But then they would stroll along curved paths, past groves of trees that look as if they stood haphazardly in their surroundings. In the late 18th century, Margrave Alexander turned parts of the French garden into an English-style landscape garden.
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Villa Wahnfried: At home with the Wagners
At the edge of the Court Garden stands Richard Wagner's first permanent home: he was already over 60 when he moved into Villa Wahnfried with his family in 1874. Now the house is a museum. It exhibits items that bear testimony to the life and works of the composer, who is, by the way, buried in the garden next to his wife Cosima.
Image: picture-alliance/dpa/N. Armer
The beer garden, Bavaria's best invention
No trip to Bayreuth would be complete without a visit to a beer garden. Take Wagner as a role model: he preferred to drink freshly-tapped Weihenstephan wheat beer. His wife Cosima said he overdid it, calling it a “dietary error.” Bayreuth offers you several opportunities to make the same error. Its largest beer garden is the Herzogkeller, which seats 1000 (pictured).
Image: Bayreuth Marketing & Tourismus GmbH
And in conclusion, a selfie with Wagner
In 2013, to mark the 200th anniversary of Richard Wagner's birth, the town of Bayreuth donated this statue of its most famous resident: Wagner, informal and at ease, on a park bench. Passers-by can sit next to him and take a picture. A selfie with Wagner is a great souvenir of Bayreuth and an incentive to come again some day — the next time, with a ticket to the Wagner Festival!