Tannhauser longs for earthly life, rejects Venus, returns to mortal Elisabeth. He's condemned by the Landgrave for his carnality, and sent to Rome. The Pope predicts forgiveness is as likely as his walking stick is of sprouting new shoots.
Director: Brian Large
Conductor: James Levine
Cast:
Richard Cassilly ... Tannhäuser
Éva Marton ... Elisabeth
Tatiana Troyanos ... Venus
Bernd Weikl ... Wolfram von Eschenbach
John Macurdy ... Landgrave Hermann
First performed 1845.
Some of Wagner's best music, the most familiar was used in Bugs & Elmer cartoon What's Opera, Doc? ('57).
The translation for the subtitles was not great. I liked that in a duet they listed both characters' lines. But some of the grammar was wrong, and with some of the English words chosen I needed a dictionary. It was difficult to make sense of the lines when they go by so quickly. And Wagner seems to repeat the lines less than, say, Verdi.
I had read the Simon synopsis (100 Great Operas) before watching this 3-act, 3h 10m epic, but I would have liked to grasp more of the details. Instead, I got frustrated and watched less instead of more.
In Act II, when Elisabeth and Tannhauser first reunite, they seem to be declaring happiness at being together. Tannhauser is watching Elisabeth throughout (she's facing the audience, as is he), but when the duet concludes and she reaches to embrace him, he looks horrified and backs away. I rewound more than twice to try to read the words and understand why he backed off. Couldn't figure it out.
I find the story strange in multiple ways. First, pagan and monotheistic gods coexist, and how did Tannhauser get to cavort with Venus (in "Venusburg") in the first place? (When he explains that he wants the pleasures and pains of the real world, and ultimately redemption and death, that raises my eyebrow.) Another: during the singing contest (back in the mortal realm), he comes up with an ode to Venus. So is he always looking where he's not?
I read that Elisabeth would die, but I never noticed music that alerted me to that moment.
This music is so good that I should see another performance for possible illumination.
Live at the Met, cond. Levine; 7
