Meeting Venus: Wagner Tannhäuser (Royal Opera House, 29.01.2023)

Many years ago I saw the film Meeting Venus with Glenn Close and I was fascinated by the music from Tannhäuser in the opera scenes. I decided that, one day, I absolutely had to see that opera. And so, that day finally came!

I love opera, but I do consider myself to be a "Wagner" fan. I have always been on "Verdi/Belcanto" side, but I have to say: Tannhäuser was quite something. It was brilliant, beautiful and uplifting. It's not an opera of virtuoso arias, when you applaud after each beautifully performed music number (sang as expected), but it is a music that is always there, that carries you, that fills the space even with the most simple music line, played by only one or few instruments. Then, slowly, it intensifies and reaches the climax. Although there was no space or time to applaud during the performance I attended, at the end, there was one of the strongest and longest applause I've ever experienced at the Royal Opera House.

My hats off to the orchestra and the conductor Sebastian Weigle, my biggest respect for Norbert Ernst, who, on the very short notice, replaced indisposed Stefan Vinke and sang the title role of Tannhäuser. I mean that really requires great courage, even more so that Norbert sang the whole opera from the side (with the score) and Stefan acted on the stage without singing. Norbert Ernst couldn't feel the other singers' energy or breath when they sang in duets or trios or sextets, which usually helps singers to better synchronise. He was apart, yet with them and that, I think, was a real professionality. Strange as it may have appeared, it showed that singers are only "humans" and these emergency situation happen even in the most renowned opera venues and need to be dealt with. Well, it definitely saved the evening and had great response from the public.

It was also a great opportunity for me to see and hear Ekaterina Gubanova for the first time (singing Venus), who was vocally and physically well suited for the role. It was the first time I saw Lise Davidsen (singing Elisabeth), and what a voice she has! With her crystal clear and powerful, ringing voice, she could pin us down when she wanted. But her vocal powers were perfectly controlled and modulated according to each situation. Another first time (on live) was for me to see Gerald Finley (singing Wolfram). I've seen him from streamings (in concert or in Handel's Ariodante and it was alway a pure pleasure), but live - it was even more so. Such elegance, mastery and beautiful presence on the scene, he was a delight.

At the beginning, there was a long ballet scene (from the Venusberg, where Venus reigned), intending to be very sexual and sensual, to evoke the Venus' power of love (sex?) and seduction. It was, for sure, skillfully performed by dancers who had to be rather quick and mindful of the constant table moving and changes in postures. So, in the end, it was not that erotic as it was athletic. Nevertheless, they deserved our admiration for all that hard work and professionality. Compliments to the stage director Tim Albery.

I knew I had to see this opera and I'm very glad I have. It was worth all the four and a half hours at the Royal Opera House and I would definitely recommend it to everyone. We simply cannot ignore the power of that music.