As a long-time opera enthusiast and of someone who loves Tannhauser I was eager to see this production. Another main attraction was Werner Herzog, whose other opera endeavours were very interesting(of the ones seen my favourite was the 1991 Lohengrin). The production gets a mixed reaction from me, it's better than the 1994 production but nowhere near as good as 1982, 1989 and especially 1978. It does have a number of good points, such as the simple yet gorgeous costume and set design, good sound, powerful orchestral playing, incisive conducting from Gustav Kuhn and two superb performances from Ludwig Baumann as a sympathetic Wolfram and Andrea Silvestrelli as a powerfully-voiced Landgrave. Gertrud Ottenthal is a touching Elisabeth too. On the other hand, I did find the camera work disappointing, not focusing enough on the singers and continually flashing back on Kuhn, which does diminish the drama. The staging and acting came across as dull to me, most of the principals' acting consists of aimlessly walking around without any sense of direction. Of the staging, the worst offenders were the corny ending and perhaps the most embarrassing account of the Venusberg scene I've seen not helped by a visibly heard bored-sounding prompter. And there were two performances that were disappointing. Marianna Pentcheva has a good voice as Venus even if short on the top register, but she is nowhere near sexy or thrilling enough for a love/sex goddess. Alan Woodrow sings the punishing role of Tannhauser, and I'm afraid to say I didn't care for him. He constantly looks insecure, and vocally you can tell he's taxed by how under-pitch and harsh tone-wise he is most of the time. Overall, as much as I love the opera and admire Herzog, apart from some good things, this Tannhauser was disappointing. 6/10 Bethany Cox
3 Reviews
Magnificent Opera by Richard Wagner
claudio_carvalho17 July 2016
After spending a period in Venusberg (Venus Mountain) in profane love with the goddess Venus (Mariana Pentcheva), the Minnesinger and poet Tannhäuser (Alan Woodrow) feels satisfied and longs for freedom. Before leaving the caverns, Tannhäuser is cursed by Venus and returns to his homeland where he is welcomed by five minstrels. His friend Wolfram (Ludwig Baumann) tells that the Landgrave's niece Elisabeth (Gertrud Ottenthal) misses him and lost her interest in music. He meets Elisabeth, and her uncle, who raised her like a daughter, decides to celebrate his return with a festival with a song contest. When the Landgrave tells that the theme is the nature of love, Wolfram and the other minstrels sing about the sacred love. However Tannhäuser mocks them and tells that only who had been in Venusberg is capable to tell the real nature of love. Tannhäuser is loathed and the men want to kill him, however Elisabeth protects Tannhäuser and saves him. He promises to seek atonement in Rome and joins a group of pilgrims while Elisabeth prays for him. When the pilgrims return, Elisabeth and Wolfram seek Tannhäuser out but does not find him. Later Wolfram sees Tannhäuser that has returned alone and he tells that he is searching for Venusberg again since he has not found absolution and salvation in Rome. He summons Venus and when she finally appears, Wolfram only says the name Elisabeth. Tannhäuser stops and Wolfram explains that Elisabeth died praying for him and now she would ask for his salvation directly to the Lord. Soon Tannhäuser discovers that he had found redemption through Elisabeth's love and he dies. While the pilgrims sing about the miracle that has happened, his soul flies to heaven.
"Tannhäuser" (2000) is an opera in three acts by Richard Wagner about the struggle between the sacred and profane love. The story is based on the German legend and there are difficult points to be understood by those that are not familiar with these legends. Venusberg, for example, is a cursed place of eternal perdition hidden from the mortals by Venus. Why Tannhäuser's sins cannot be forgiven? Why Tannhäuser is called Heinrich many times along the opera. The fantastic production is long (three hours) and the DVD is awesome. My vote is ten.
Title (Brazil): "Tannhäuser"
"Tannhäuser" (2000) is an opera in three acts by Richard Wagner about the struggle between the sacred and profane love. The story is based on the German legend and there are difficult points to be understood by those that are not familiar with these legends. Venusberg, for example, is a cursed place of eternal perdition hidden from the mortals by Venus. Why Tannhäuser's sins cannot be forgiven? Why Tannhäuser is called Heinrich many times along the opera. The fantastic production is long (three hours) and the DVD is awesome. My vote is ten.
Title (Brazil): "Tannhäuser"
So-so production of Wagner's opera
hte-trasme6 September 2009
The greatness of Wagner's opera shows through in this recording of Tannahauser by the Teatro San Pedro. On the plus side, Patricio Saudelli is very expressive and suitable in both the singing and acting departments, the rest of the cast is quite adequate too, and Gustav Kuhn's interpretation of the music is very powerful. However, the orchestra has rather too many ill-tuned moments, and there are also a few stiff performances (including in the role of Venus).
The stage director, Erner Herzog, is famous as a director of films. Perhaps he is justly so (though I wouldn't necessarily say so based on the one film of his I have seen, his glacial and generally far inferior remake of F. W. Murnau's "Nosferatu"), but he is woefully inadequate as a director of operas. In almost all the scenes the performers seem to have been instructed to stand in a straight line while singing their parts, occasionally wander aimlessly a bit, and do nothing else. There are even instances where characters are supposed to be playing instruments which are reflected in the score, and actors are allow to stand holding the instruments with even pretending to play them. It's flat and dull, and almost looks as if there had been no director at all.
My compliments must go to the designer of the set and costumes, though. Those are simple but gorgeous and very suitable (though the Act III set unfortunately doesn't seem to film very well).
This production is probably adequate for most purposes, but I would definitely try another Tannhauser on film next time.
The stage director, Erner Herzog, is famous as a director of films. Perhaps he is justly so (though I wouldn't necessarily say so based on the one film of his I have seen, his glacial and generally far inferior remake of F. W. Murnau's "Nosferatu"), but he is woefully inadequate as a director of operas. In almost all the scenes the performers seem to have been instructed to stand in a straight line while singing their parts, occasionally wander aimlessly a bit, and do nothing else. There are even instances where characters are supposed to be playing instruments which are reflected in the score, and actors are allow to stand holding the instruments with even pretending to play them. It's flat and dull, and almost looks as if there had been no director at all.
My compliments must go to the designer of the set and costumes, though. Those are simple but gorgeous and very suitable (though the Act III set unfortunately doesn't seem to film very well).
This production is probably adequate for most purposes, but I would definitely try another Tannhauser on film next time.
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