Wagner - Tannhauser (remastered)
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Features
• AC-3
• Dolby
• DTS Surround Sound
• NTSC
• Subtitled
In Theaters : 1982
DVD Release : 04 July, 2006 |
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Wagner - Tannhauser (remastered) description
This Tannhäuser is a fine example of something that unfortunately has become rare: a modern Wagner opera performance that Wagner would certainly have applauded. Under the artistic leadership of conductor James Levine, the production team of director Otto Schenk and designer Günther Schneider-Siemssen has adhered strictly to the composer's wishes. These are not hard to fathom; they were clearly articulated in his lifetime and rigorously enforced at Bayreuth long after his death. But in the last half-century they have been frequently violated by his descendants and heirs, among others. The temptation to plumb these music dramas for symbols and allegories is almost irresistible. In this production, like the later Met edition of the Ring cycle, the artists sensibly allow each audience member to develop a personal interpretation without undue interference. The singers--Richard Cassilly, Eva Marton, Tatiana Troyanos, Bernd Weikl, and John Macurdy--are superbly matched to their roles. --Joe McLellan |
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Wagner - Tannhauser (remastered) Customer Reviews
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♥♥♥♥♥ |
Good production marred by a poor performance by the lead role
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Tannhauser is a Wagnerian opera that suffers from some undeserved snobbery. It was written during the phase when Wagner hadn't perfected the idea of a pure music drama. Tannhauser is unusual in that it blends some facets of French grand opera (that Wagner would so harshly criticize only a few years later) -- it has a ballet and set pieces and arias. I find this reputation undeserved -- Tannhauser is one of Wagner's more accessible operas to newcomers, and it is rich with beautiful melodies. But perhaps the biggest reason it's not performed as often as Wagner's other works is the extremely punishing, voice-killing title role. It's a rare tenor who is equipped to handle the demands of Tannhauser, especially the Rome narrative that comes at the end of 3 hours of singing. This live performance from the Metropolitan Opera is in all respects a welcome addition to the DVD library.
Otto Schenk's sets are unabashedly traditional, which is part of its appeal. With all the vague and obscure symbolism that directors love to clutter into Wagnerian operas, it's nice to see Tannhauser presented as it was meant to be -- a medieval morality play. Although Venusburg looks like a weird caricature of scantily clad dancers gyrating for no particular reason, the direction has a nice touch of realism. The sets for the Wartburg castle is likely to draw some gasps from the audience.
And now, the singing. Tannhauser has a well-deserved reputation as a voice killer. From the very opening notes, I knew Richard Cassily's Tannhauser would be more workmanlike than inspiring. His voice has an unpleasant, pinched, nasal quality, and his stage presence is portly and uninspiring. He gets through the part, but the sounds he makes are not always pretty. To be fair it's a rare tenor who can even tackle Tannhauser, but opera is an auditory as well as visual experience, and Cassilly fails on both counts.
Fortunately, he is surrounded by much stronger singers. Tatiana Troyanos is a thrilling Venus -- sexy, with a beautiful blooming voice. Venus's part is relatively brief but Troyanos makes her mark. Eva Marton is in her relatively brief prime vocally. Never the most compelling stage presence, hers is mostly a stand and sing performance, although close-ups reveal that she's shedding real tears in Act 2. Her voice can turn shrill under pressure, but it's a major league dramatic soprano. Her voice lacks a bit of delicacy and vulnerability for Elisabeth (listen to Victoria de los Angeles or Kirsten Flagstad), but it's a strong performance. "Allmacht-ge Jungfrau, hor mein Flehen" is very well-sung. Bernard Weikl's voice is disappointingly hollow, but he pulls it together for the famous "Ode to the Evening Star."
I am deducting two stars because of Cassilly's vocally and physically unappealing Tannhauser, but I still recommend this video as a great introduction to one of Wagner's most underrated works.
By the way, the production uses the *Paris* edition of the opera. Long story short: the premier of the opera n 1846 was not a success, and in 1861 Wagner made several changes, including writing a ballet in the Venusburg scene. The Paris premiere was not a success either, and Wagner remained unsatisfied with the opera up until his death in 1883. |
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