During this performance his voice lost power until he sounded hoarse in the third act. His sharp tones sounded less relaxed than they did early in his career. But if you look back on his years of experience in this role, this no longer sounds believable. Maybe the now 62-year-old singer does not have the power to sing this difficult role anymore, or maybe he was just nervous because it was the first performance and he knew that the press would be writing about him. Unfortunately you could not say the same of Peter Seiffert, singing the title role of Tannhäuser. The excellent orchestra performance is appreciated by the audience with thunderous applause. Numerous performances of Wagner (Milan, Madrid and Copenhagen) make him a true connoisseur. We quickly realize that Haenchen is a master of the German style. Warm sounding horns open the operaand are followed by soft sounding strings and warm cello sounds.
#TANNHAUSER ROYAL OPERA HOUSE FULL#
The Orchestra produces a wonderfully full sound. Bravo for this emotional finale.Ĭonductor Hartmut Haenchen and the Orchestra of the Royal Opera House do a great job. Albery lets snow cover the stage, which produced a very touching effect in this sad act of the story. However Act 3 is very successful, where Elisabeth vanishes in an infinite emptiness, and Tannhäuser finally finds his salvation.
Maybe the director just wants to show us a ruined world and a desperate Tannhäuser who takes refuge in Venusberg? But the whole appearance is a matter of opinion. For example, the eroticism of Venus is not coming for retribution (Act1) and that the usually so proud minstrels are presented as dirty freedom fighters with weapons (Act2). This idea of showing the dreary Wartburg world is actually good it’s just the implementation that bothers me. A tree appears that symbolizes the only glimmer of hope for a new life in this dreary world. The erotic Venusberg world, in contrast, is represented by a single table that serves as a bed at the same time. In Tim Albery’s production the story takes place in the dreary world of the Wartburg. Goalless, he wanders about looking for pity until he can die in peace and salvation. At this point he sings his song of the erotic love of Venus and is banished for this scandal from the Wartburg, the Castle of Landgrave Herrmann. After a long stay at Venusberg he longs to return to his big love Elisabeth, back with the people he upset about their thoughts of love. He flees into the field of the love goddess Venus in the hope that there he can find a better life, far away from the human perception of love. Richard Wagner’s Tannäuser tells the story of a singer who feels angry and frustrated that his art is not understood and appreciated and leaves his home behind.
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