How do you handle love when you want both the whirlwind of lust and the calm of real love at the same time?
No that wasn't a stupid question, it's a very legitimate one. Yesterday the Metropolitan Opera did its third simulcast of the regular season, Richard Wagner's religious drama Tannhäuser. Tenor Johann Botha, whom I last saw three years ago in the title role of Verdi's Otello, sang the title role of the minstrel torn between love and lust. Soprano Eva-Maria Westbroek made her fourth Live in HD appearance as Elisabeth, the pious maiden who loves and prays relentlessly for Tannhäuser's soul. Peter Mattei, who sang the Count Almaviva in Le Nozze di Figaro last season, was Wolfram, another minstrel who is loyal to the core. And Michelle DeYoung made another Live in HD appearance as the Greco-Roman goddess Venus.
It's a Wagnerian opera, so I'll try to keep things short here. Tannhäuser has spent who knows how long in Venusberg, Venus's underground realm of sensual delights. He wakes one day and longs for home. Venus protests and tried to prevent him from leaving. He rejects her and finds himself back in the mortal realm. He is found by Wolfram and his friends and is told that Elisabeth has suffered in his absence. At the mention of the maiden's name, Tannhäuser follows them to the castle. Elisabeth rejoices at his return and he returns her affections. But his time in Venusburg has not left him unaffected, and so he joins a band of pilgrims in hope of seeking redemption. Suffice to say, redemption for Tannhäuser comes in a very peculiar way.
I last saw Johan Botha three years ago when he sang to title role in Verdi's Otello. So seeing him as Tannhäuser was very interesting. His voice is very strong and very big; so strong in fact, I swear it may have gotten to overpowering at times. Botha brought out well the indecisiveness of the character. Tannhäuser cannot tell the difference between love and lust. He has spent a very long time in Venusburg, and longs for both the sensual delights of Venus and the faithfulness of Elizabeth, and he knows he can't have both. This causes trouble for him, it breaks Elizabeth's heart and that of Wolfram, and it frightens his entire circle. And he doesn't quite grasp the purpose of pilgrimage either; it's not what you do to earn Salvation that matters. A pilgrimage is a road trip with God. It's the time you spend with Him that counts, and poor Tannhäuser does not fully understand it.
This simulcast was the fourth time I saw Eva-Maria Westbroek perform. Elizabeth is a young and idealistic woman who falls head over heels for a guy who charms her, and is unfailingly faithful to him even when he turns his back on her. Westbroek is perfect for this sort of role; I saw her earlier this year in the role of Santuzza in Cavaleria Rusticana. She has the roles of women who are luckless in love down to a science.
I know I heard Michelle DeYoung about six years ago when she sang the role of Brangäne in another Wagner gem, Tristan und Isolde. I knew she was good, but didn't know just how good until she sang the role of the Queen of Hell herself, Venus. I'm thinking specifically of her vocal abilities, which may as well be a heavier version of Joyce DiDonato's voice.
Peter Mattei, whom I last saw as the Count Almaviva last season, was Wolfram, the poet. I love this character, and Mattei did a superb job with the role. For someone who didn't quite understand Christianity, Wagner created in Wolfram the character of a Christ-follower. Wolfram is loyal and pious, loving Tannhäuser as his friend, but also caring very about the man's soul. It is Wolfram who brings Tannhäuser back to his senses and helps him avoid falling again for the charms of the demonic Venus.
The only quibble I have with the production was the ballet sequence. Yes it's depicting an orgy, yes the characters are meat to be sylphs and other sprites, but can they please give the men a bit more clothing?
Lovely production, and quite an interesting cast of characters.
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