Lohengrin in Nuremberg: Papa ante Portas

Looks like "Game of Thrones", but it is much more than just a Fantasy spectacle of Nuremberg, Lohengrin, impressively conducted by Joana Mallwitz. Nürnberg

Lohengrin in Nuremberg: Papa ante Portas

Looks like "Game of Thrones", but it is much more than just a Fantasy spectacle of Nuremberg, Lohengrin, impressively conducted by Joana Mallwitz.

Nürnberg - Papa has to make it. Son of man, Lohengrin would have stabbed adversary Telramund already towards the end of act one. A paternal intervention prevents this. And also in act three, after Telramund was transported by dislocation of the neck to the ancestors, is Parzival, the Argument of self-defense does not apply: Telramund is raised from the dead. For Backstab, no, no, the knights of the Grail does not. But criminal is tempering for Lohengrin: It is the first Time out of the house. In the castle of the Grail with the chalice-disclosure and all sorts of Holy stuff, of course, he has to save now to get out in the reality and the maiden Elsa. That he is embroiled in political strife, and of the lady his first kiss receives – who wants to synapses-short circuits prevent?

Sounds like satire, to the Monty Python variant of Germany's most beautiful Swan Saga, but it's just so meant to be. David Hermann follows as at the Nuremberg Opera house of an old Director-Tradition: the Pathos-Drama by irony in the air let out. With Jo Schramm (stage, light, Video), and the wonderful costume designer Katharina Tasch he uses in the TV series "Game of Thrones" and other Fantasy stuff. This works because Richard Wagner conjured anyway a kind of desire-the middle ages. And because Hermann is not in the mere equipment of joke stuck.

Parzival and Wodan as a dumb action handlebar

A fun, intelligent performance is a success for the be careful to get there. The Fantasy also takes as a foil for a deeply menschelnde history. It can occur as a silent figures: Christian king Parzival and the like to drunk, a Pig verspeis the end of the pagan God Wodan. As rivals and as in the act of engaging, tell-tale Arm. Not everything is coherent and theatrically at the same height. But at least as good as in the illustrative large-format Hermanns is staging in the small moments.

The uncertainty of Lohengrin at the first kiss (a Situation that was once father of Parzival, thanks to Kundry world clairvoyant), the animalistic Sizzling relationship between Telramund and Ortrud, which will be expanded thanks to a nameless servant to the Threesome, but most importantly, the Bridal chamber: The inherent, often by Mistake, the resulting humour of the individual as Lohengrin-Elsa-scene here and played used. The audience smiles, laughs and understands.

The performance of works with a few, for the bulkier characters. Everything is in the hanging forest of white poles, and arranges itself, when the Grail knight appears. A simple and excellent (and technically complex) idea. Indoor/outdoor effects can be achieved with this observations through the grid are possible, let's all be formed to the Cathedral, let's Lohengrin will be locked from the Rest. And when everything moves in the Wind, good for the perfect as a Swan-miracle.

Joana Mallwitz shows impressive Kapellmeister of the art

the night is so original and mind is rich, and Joana Mallwitz provides. It is one of the fastest "Lohengrine". But, never rushed or hurried acts (apart from the explosion of losplatz ends the third act). Nuremberg's new General music Director, shows how depth, detail, fullness and density can be combined with a enormous train that drives the Drama on the finish line and into the abyss. To be admired

there are many things: an immense Knowledge of the ingredients of the score, their correct mixing ratio, also vocal and acoustic possibilities. Just the "Lohengrin" could overwhelm the house easily. Joana Mallwitz, yet still provides a rounding of the sound, for an almost perfect Balance of micro-Finesse, and Macro breakdown. How to catch small stumble units, for instance in the first Finale, which is impressive Kapellmeister of the art. And how state Philharmonic orchestra and choir, all of this will go, the blade is more proof of Love of the Boss.

Each soloist gets his feel-good-niche: Eric Laporte as Lohengrin with a light, lyrical primed, well-focused Tenor. Emily Newton with (something matte) character soprano than like an animal held in a very hands-on, Elsa. Karl-Heinz Lehner, the balanced of the king Henry with grey textured Bass. But above all, Martina Dike as a vocal risk fun Ortrud-beast, and Sangmin Lee, the journey, the escape to the front of the Chanting and Pushing. Finally, a baritone, sings the Telramund, not overwrought his voice, even unusual shades place. This Mongol Prince, and hormones, a mix of experience, on a sign, marking the recovery is, the piece is contrary to the call as the Duke and, thus, of Brabant in the Macho stone age will be rolled back, so it fits. The next time you young women-rescue Lohengrin will make everything right.

Date Of Update: 17 May 2019, 12:01
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