Review - Tannhäuser (Wagner), Konzert Theater Bern, 8 April 2017

Tannhäuser - Daniel Frank
Wolfram - Jordan Shanahan
Elisabeth - Liene Kinča
Venus - Claude Eichenberger
Hermann - Kai Wegner
Biterolf - Andreas Daum
Heinrich - Ralf Simon
Reinmar - Carl Rumstadt
Junger - Emilie Inniger

Chor und Extrachor Konzert Theater bern
Berner Symphonieorchester
Kevin John Edusei (Conductor)
Calixto Bieito (Director)

Tannhäuser is probably Wagner's dilemma on nature of love than a search on whether love can bring salvation. The struggle between sensual pleasure and moral codes has led to an open end as what form of redemption is achieved at the end. Bieito's thought provoking staging woven this binary context and reach a plausible outcome that the two sides come together eventually. A realist approach to realise the violence and rejection that social power put in place whereas the outcasts suffered from the confrontation. It made the impact of sufferings more powerful and disturbing the same time, when one could detect the pain and madness being culminated in full. The journey that Tannhäuser embarked on no longer easily distinguish good or bad, but the experience of loss being out of place while yearning for behavioural freedom.

Instead of the cliche that Venusberg being erotic and colourful, a dark and misty forest formed the opening scene in the overture with trees spinning around. Venus touched herself erotically at first and then sprinkled water on her body as the music became increasingly sensual. She was possessive of Tannhäuser, and their emotional affection was genuine and raw by further erotic contacts. Here Bieito perceived the relationship alike cruising in the park while trees seems metaphorically represented the sexual organs. Venus disappeared when the pastoral call was played by the cor anglais, a shepherd

climbed on the protagonist and the purity image became an ongoing burden. Tannhäuser was later bullied and mocked by the minnesingers from Wartburg. They were presented as a rough militia by painting themselves with blood and roaring loudly to reinforce their manhood. When Wolfram mentioned Elisabeth, Tannhäuser was seen as troubled by the name and uncomfortable to stay around the minnesingers. Their rough edge behaviours and wildness realised Venus's prediction that Tannhäuser would struggle to return to society.

A Greek temple with tall columns made the interior of Wartburg's castle in act two. Elizabeth's reception of Tannhäuser was a mixed affair. She shared his dislike of the pretentious and male dominated crowd in their fine outlook and robotic movements. Instead of wearing the beautiful dress and high heels, she would rather put on his oversized military uniform. She too had a rebellious personalities and that suggested why she could relate to Tannhäuser. Though at first she refused and pretended not to accept his attempt of reconciliation since disappearance. Wolfram showed his jealousy towards the couple even he had to rely on Tannhäuser in order to see Elizabeth again, who rarely seen in public. He was in agony when she continued to defend Tannhäuser from condemnation. The crowd were horrified and angry when Tannhäuser praised the sensual love and took off the suit he was wearing. They behaved increasingly demonic and put blood on their faces again. Elizabeth was raped by the minnesingers and they spanked the ground with tree branches frantically. Like his production of La Juive, Bieito referenced the act to the biblical tale of purifying the temple in Jerusalem by expelling the traders however violent and brutal. Theatrically it was intense and made the social hostility to Tannhäuser more poignant.

Dramaturgy and symbolism in third act was most enigmatic and mysterious of all. A ruin of the temple remained and gradually consumed by the forest with a water fall. Elizabeth and Wolfram were more exhibited over their eccentric love and hate relation. They exchanged affections but quickly rejected each other again. Elizabeth became mentally unstable and even attempted to self harm. Wolfram watched her from distance at first and later tried to strangle her. He also became aggressive and confronting as Tannhäuser reemerged. When Venus reappeared, Wolfram first climbed into the water pond before putting dirts on his body. His act seems also a personal dilemma between physical love and self righteous. Later the crowd entered the court as Tannhäuser calling the name of Elizabeth. They appeared like ghosts and the final praise of redemption became an irony itself as they pleaded in desperation. Perhaps Bieito felt the final act was an imagination when the two ideological camps came to term and they decided to go after the spiritual satisfaction. Aggression and conformity vanished at last but not Venus the seductive figure nor Elizabeth the spiritual fountain. An undecided outcome and one could only make the choice through a journey like the one experienced by Tannhäuser.

The orchestra continued to deliver quality accompaniment throughout the evening and kept the music flowing with momentum and shapes. Brass made a confident and bodied sound at the overture, later beautiful woodwind playing during the lush and romantic interlude in act three. I was surprised that some of the singers, like Carl Rumstadt who sang the role of Figaro the evening before, filled the minor roles or even sang in the chorus for Tannhäuser. Big choral moments always carried the sheer impact of the sound of wall and filled the hall in full. Diction was clear and the singing was rather clean with minimal vibrato. Singers in minor roles met the technical challenge in the thick vocal layer and sustained a dramatic sense throughout.

Daniel Frank accurately portrayed the protagonist as an emotional and vulnerable figure. The recalling of Elizabeth in last act was particularly effective that captured Tannhäuser's dilemma between affection and physical pleasure. His timbre was rather dramatic in colour but lyrical enough not to lose the warmth in tone. Tuning was always secured and the voice never strain even reaching at higher register. I encountered Liene Kinča as an impressive Chrysothemis in Elektra at the Flemish Opera few years ago. A powerful voice with a rather bright and silvery timbre with great energy to sustain a long singing line. Though her singing was more able to realise the tenderness later at Elizabeth's prayer than the lyrical opening of act two. Jordan Shanahan, as Wolfram, sang majestically in a rich bodied tone. His sense of phrasing maintained a natural flow in tempo and legato enough to connect the lines seamlessly. Wolfram's prayer to stars and Venus in act three was romantic and poured out emotions in full. Claude Eichenberger's voice suited better to the role of Venus than Marcellina the evening before. Phrasing was natural and more able to project her rich voice smoothly. As a whole, the renovated opera house with comfortable seats and well maintained interiors added another attraction for future revisit on top of the high music standard.