Roberto Alagna is LOHENGRIN in Berlin – Review by Natalia Di Bartolo – The French/Sicilian tenor makes his debut in the German repertoire at the Staatsoper Unter den Linden –
In the seemingly infinite desert of a Theater in the "covid era," amidst the virtual applause received by the artists with masks on their faces, at the Staatsoper Unter den Linden in Berlin, on December 13, 2020, the performance of Wagner's masterpiece resounded " Lohengrin".
Capacity for staging of great courage and resourcefulness, given the conditions of the pandemic, in an empty theater, but with an audience still present and obviously from all over the world, who followed the performance live, postponed for a few hours works in streaming.
Curated by maestro Matthias Pintscher, in terms of timing and dynamics, the music of the German genius imposed itself with strength and capacity for involvement, entrusted to the Staatskapelle Berlin orchestra, which seemed extremely motivated. The whole ensemble, including the orchestral pieces that punctuate the Opera, gave a result of a high sound level, in fact enjoying the production of a cast of great skills and professionalism.
At his debut in the title role, Roberto Alagna appeared on stage with entirely spiritual levity; which let us foresee, later confirming the anticipation, no excess on his part, neither vocal nor scenic: in great taste, linear, composed, measured in the phrasing with great attention to style, the famous tenor interpreted Lohengrin by moderating the impetus typical of the role and eliminating any blatantness: it seemed to rest just on the tables of the stage, it was diaphanous, deliberately almost angelic in its movements. However, the unusual and classy scenic interpretation corresponded to the fact that vocally the Wagnerian hero was everything and was only himself: no indulging in any character from the immense Italian or French repertoire that the great tenor has always frequented. Roberto Alagna, engaged for the first time in a role from the German repertoire, "was" Lohengrin, also in the fluidity of pronunciation, in tackling the improbable weaving, in the climax, in the wedding chamber scene and above all in the finale, in an interpretation of very fine vocal quality. A sort of hero-antihero, therefore, without distorting either the character or the role, but rather imposing himself as a protagonist of extremely refined texture and infinite study, mediating with a strong personality between Thill and the great German interpreters of the tradition. All this leads us to hope to listen to him again and see him again soon in the same role.
Vida Mikneviciute's Elsa von Brabant is effective on stage, also making her debut in the role. A bit’ icy, but absolutely coherent, with a significant vocal depth, the Lithuanian soprano faced the demanding part with competent shrewdness.
Of interpretative significance the performance of Ortrud, Ekaterina Gubanova, the best on stage between the two female characters, to which the blatant wickedness gave an extra gear.
A René Pape worthy of his fame gave birth to King Heinrich der Vogler; the baritone Martin Gantner, Friedrich von Telramund, joined his wife Ortmund in brutality and good German singing; made by the direction a sort of jester, but well in part the Herald of the king, Adam Kutny; committed the Staatsopernchor, also to follow the directorial dictates.
And, arriving precisely at this datum of the staging, it is underlined how Calixto Bieito has created a visionary direction according to his usual, often unintelligible and apparently unmotivated, in modern clothes by Ingo Krügler, in the scenic environment conceived by Rebecca Ringsts and illuminated by lighting by Michael Bauer; sometimes, however, spot on, especially in the scene before the second act between the two cruel spouses, on a staircase strewn with broken dolls, and in the finale, with the young Goffredo, who goes to the proscenium soaked in water, emerging after the terrible drowning unjustly attributed to his sister Elsa, crossing the protagonist hero, who, returning him to his role as Duke of Brabant, having completed his task in all respects, seems to vanish.
And the famous swan? A white origami in the hands of the protagonist was perhaps the most significant presence of the symbol of the legend of the hero Lohengrin, also, evidently, like all legends, considered as ephemeral and volatile as paper.
Natalia Di Bartolo ©
From the official Facebook page of Maestro Roberto Alagna www.facebook/RobertoAlagna.tenor an excerpt translated into English:
– REVIEW | ❝A protagonist of a very refined kind and endless exploration, mediating with a strong personality between Thill and the great German performers of the tradition. Full spiritual ease. Nuanced phrasing and great attention to the style. High-class, tasteful, tranquil interpretation with no excess, neither vocal nor scenic. Ethereal and deliberately almost angelic on the stage floor. Fluent pronunciation. Mastery of the tessitura’s difficulties. ❞ by Natalia Dantas for
PHOTOS www.facebook/RobertoAlagna.tenor and Monika Rittershaus