by usia review

Teatro Nacional de São Carlos delivers a compelling and philosophically resonant production at the Centro Cultural de Belém.

Production: Teatro Nacional de São Carlos (presented at CCB, Lisbon)

Work:Tannhäuser by Richard Wagner

Musical Direction: Maestro Graeme Jenkins

Stage Direction: Max Hoehn | Costume Design: Nuno Velez

Cast: Stefan Vinke (Tannhäuser), Allison Oakes (Elisabeth), Annemarie Kremer (Venus), André Baleiro (Wolfram), Wolfgang Rauch (Landgrave Hermann), Mariana Castello Branco (Shepherd-Boy).

Richard Wagner’s Tannhäuser remains one of the most universally fascinating works in the operatic canon due to the profound conflict at the heart of its narrative: the perpetual tension between sensuality and spirituality, desire and morality, impulsive abandon and ethical renunciation. The entire opera thrives on an internal warfare between two diametrically opposed worlds—the Venusberg, a pagan realm of eroticism, seduction, and absolute pleasure, and the Wartburg, an unblemished space of austere spirituality and purity.

This structural dichotomy is personified by the stark opposition between Venus and Elisabeth (the latter inspired by Saint Elizabeth of Hungary), mapping out the entire dramatic grammar of the masterpiece. Instead of a simple moralistic fable, Wagner transforms this conflict into a deeply human reflection on the agony of split impulses and the near-impossibility of reconciling base human instincts with transcendent ideals. The protagonist emerges as a tragically fractured figure, hopelessly torn in his quest for equilibrium between raw passion and spiritual salvation.

This psychological friction is masterfully articulated not only through the libretto but directly through the architectural fabric of the music. In Act I, the Venusberg envelops the listener in a voluptuous atmosphere, thick with sensory indulgence and the hypnotic song of the sirens. This stands in brilliant relief against the solemn Chorus of the Pilgrims returning from Rome, whose chorale introduces a redemptive dimension of repentance and purification. Similarly, Elisabeth, through her prayers and self-sacrificing penance for Tannhäuser’s soul, embodies a redemptive, sacrificial love.

To technically distinguish these dual universes, Wagner employs specific tonal shifts. Passages bound to carnal love are distinctly associated with the bright, urgent key of E major ($E$), whereas moments tied to spirituality and ultimate redemption shift toward the solemnity of E-flat major ($E\flat$), creating a palpable harmonic tension between the two dramatic poles. By Act II, during the song contest at the Wartburg, Tannhäuser violently shatters social and moral conventions with his passionate outburst, "Dir göttliche Liebe soll mein Lied ertönen!", an aria exalting physical love. In sharp contrast, Wolfram von Eschenbach offers a deeper, chaste, and spiritualized vision of love. A particularly sublime lyrical highlight is the recurring Leitmotiv in the Act II duet between Elisabeth and Tannhäuser, "Gepriesen sei die Stunde." Even in Act III, following the Pope’s absolute refusal of absolution, Tannhäuser’s desperate re-invocation of Venus marks one of the most shattering climaxes in opera, where human despair briefly threatens to triumph entirely over the hope of grace.

Musically, this score still betrays the lingering influence of Italian bel canto—not necessarily in the vocal writing itself, but in the sweeping orchestral lines and specific moments of intense melodic lyricism. It is worth recalling that Wagner deeply admired and conducted the works of masters like Vincenzo Bellini and Gaetano Donizetti. Furthermore, the prominence of the harp, evoking the medieval lute and chivalric romanticism, beautifully evokes an atmosphere both archaic and idealized.

Under the musical direction of British Maestro Graeme Jenkins, the monumental scope of Wagner's score was fully realized. Jenkins excelled at balancing the gargantuan choral and dramatic peaks with the delicate, introspective passages. The Portuguese Symphony Orchestra responded with authority, particularly delivering in the massive ensemble numbers and the iconic pilgrim choruses.

In the title role, Stefan Vinke proved to be a highly capable heldentenor, stepping into the demanding protagonist role as a late replacement. Vinke offered a lighter, less brooding interpretation than is typical for modern Wagnerian tenors; his timbre was relatively bright yet remarkably firm, well-projected, and cleanly articulated. He adapted commendably to the notoriously tricky acoustics of the Centro Cultural de Belém (CCB) auditorium—where a slight, perceptible acoustic slapback lingers for a couple of seconds. His diction, dramatic commitment, and sheer vocal stamina across the grueling evening were thoroughly admirable.

Conversely, Allison Oakes, whose voice aligns more with a lyric-spinto than a true dramatic soprano, did not entirely convince as Elisabeth. Her emission occasionally turned metallic, lacking the wide, warm, and dark middle register necessary to give the character the profound emotional gravitas she demands. Annemarie Kremer presented a more lyrical Venus than usual; though lacking raw vocal power, she compensated beautifully with refined musicality, an alluringly rounded emission, and a highly seductive stage presence.

One of the true triumphs of the evening came from Portuguese baritone André Baleiro. Taking on the formidable Wagnerian role of Wolfram, Baleiro delivered a deeply moving rendition of the famous hymn to the evening star, "O du, mein holder Abendstern." Sung with contained interiority, flawless diction, and an elegantly spun legato, his performance revealed an intelligent and mature artistry. Meanwhile, Cologne-born bass-baritone Wolfgang Rauch lent commanding dramatic authority to Landgrave Hermann, anchored by a rich, expressive, and full-bodied vocal delivery. Among the supporting Portuguese cast, soprano Mariana Castello Branco stood out with a delightful performance as the Shepherd-Boy, sung memorably from the audience stalls.

The scenography, visibly constrained by budgetary limitations, opted for minimalist, stripped-back solutions. The stage design utilized stylized foliage on the flanks, centering on the imposing dome of St. Peter’s Basilica in Rome, interspersed with video projections. Some of these projections paid visual homage to Bayreuth—a holy site for any Wagnerian. Indeed, it is impossible to discuss Wagner without evoking the Bayreuth Festspielhaus, the composer's custom-designed theater. Inspired partly by the ancient theater of Epidaurus and the magical acoustics of classical Greek amphitheaters, its hidden orchestra pit blends voices and instruments into an immersive, enveloping wall of sound. This legendary 'Bayreuth sound' remains one of the most singular experiences in the world of opera.

In sum, this production successfully reaffirmed the artistic ambition of the Teatro Nacional de São Carlos. By tackling one of the most philosophical and complex masterpieces in the Wagnerian repertoire, the institution proved that Tannhäuser continues to shock and spellbind through its raw universality. The relentless conflict between desire and redemption, pleasure and guilt, instinctive freedom and moral demand remains a deeply human, internal struggle—one that renders Tannhäuser as unsettling, provocative, and fascinating today as it was at its inception.

A Teatro Nacional de São Carlos Production

BY GOOGLE ADSENSE

António Lourenço

António Lourenço is an opera and cinema enthusiast whose life has been deeply intertwined with the performing arts, both as a musician and as a devoted observer of the world’s great cultural stages.

He received his lyrical training as a singer at the Teatro Nacional de São Carlos in Lisbon, where he performed as a tenor with the São Carlos Choir. For more than two decades, he also sang with the Lisboa Cantat Symphonic Choir, dedicating himself especially to the great masterpieces of sacred choral music. Alongside his choral work, he performed solo recitals of Italian opera arias and pursued studies in sight-singing and piano.