In the context of the Wagnerian Wochen, Kirtsten Harms’s production of Wagner’s Tannhäuser has been revived with a different cast and conductor, but the concept of having one singer for both Venus and Elisabeth, central to the production’s “message”, persists. In the original production, Nadja Michael proved to be miscast in both roles. Not the case this evening. Although Petra Maria Schnitzer is rather short on tonal richness, low notes and sexiness for Venus, she proved to be a most efficient Elisabeth. I refrain from the word “illuminating”, for Schnitzer is the kind of reliable singer who is sufficiently satisfying in every single department, but rarely takes you by surprise in anything. Her large lyric soprano has no glitches – her tonal quality is golden, she produces big top notes when this is required from her, she can fine her voice down to pianissimo and sings with good taste throughout – she even produced an intimate touching prayer in act III. Pity that Dietrich Henschel no longer possesses the nobility of tone for Wolfram. His vocal production was either rasp, throaty, fluttery, poorly supported, nasal or a combination of these. Where is Markus Brück when we need him? Pity also that the reliable Reinhard Hagen found some difficulties with the higher end of tessitura in the role of the Landgraf.
Conductor Ulf Schirmer offered transparent orchestral sound, with some exciting fast passagework from strings. I have missed the sheer voluminousness that Philippe Auguin could conjure last time – and some scenes dragged a bit: this was hardly the most sensuous Venusberg in the market. If things happen there in such low pace, I perfectly understand why Tannhäuser longed for green fields, nightingales and other rural articles. As usual, the Deutsche Oper Chorus did a terrific job.
I leave the best for last. I have always believed that Tannhäuser was a role condemned to be poorly sung. Today I was gladly proved wrong – Stephen Gould’s performance this evening should appear in the dictionary next to the entry “Tannhäuser”. His voice is at once big, firm, easy and pleasant. He phrases with musicality, has perfect diction, knows how to tackle declamatory passages with the dexterity of an Astrid Varnay, snarls when one wishes him to do so and even reserves unconstricted mezza voce for some key moments. Have I mentioned that he ended the opera almost as fresh-toned as in the beginning? There was no moment when the audience had to worry about the next dramatic top note. This is a singer in the top of his game in Wagnerian heroic repertoire.