Word: lohengrins
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...Wieland died at 49 last fall (shortly before he was to have made his Metropolitan Opera directorial debut), and now Wolfgang, 47, has assumed sole control over Bayreuth. So far, the results have been taken by many observers as a series of ominous portents. Wolfgang's staging of Lohengrin last month, his first effort since his brother's death, departed markedly from Wieland's stylization and simplification and seemed to echo the old conservatism in stead. The bridal chamber was done up like a Moorish gazebo. Singers were allowed to return to the old style of explicit...
...been anyone's favorite musical medium. Composers shun it, music majors sneer at it, and conductors aspire to higher things. Plagued by a limited repertoire and a not-too-sophisticated audience, bands are usually reduced to playing Sousa marches and arrangements of the prelude to the second act of Lohengrin...
...German, it sounded when Walter Berry and his wife Christa Ludwig went at it again last week, snapping and snarling at each other for everyone to hear. And those who did were delighted, for as the villainous Telramund and Ortrud in the Metropolitan Opera's new production of Lohengrin, their domestic-quarrel scene was an electric charge in an otherwise static drama. They did not merely rant and rage: they insinuated, they needled, they enticed. Both marvelous singer-actors, they bent and shaded their voices in a seemingly infinite variety of veiled sneers, smiling threats and choked curses...
...past three months, Metropolitan Opera audiences have seen more exploding galleons, clashing armies and airborne tenors than they did in the thousand-and-one nights at the old house. Last week the Met staged its new production of Lohengrin, and it, too, was a shocker-not for spectacle, but for lack of it. The stage was virtually stripped clean of scenery. Choristers stood in rigid rows like drill teams awaiting inspection; principal singers stirred hardly at all, and when they did, it was with the slow, deliberate movements of dream figures. The audience loved it, loudly bravoed Conductor Karl...
...Lohengrin was intended to be the vehicle for Wieland Wagner's long-awaited U.S. debut, but when he died three months ago at 49, his production was entrusted to his assistant, Peter Lehmann. Still, symbolically, Wieland was there. And fittingly so, for symbolism was his stock in trade. Lohengrin was garbed in heroic gold, Elsa in innocent white, Telramund in malevolent black, Ortrud in sinister green. In the background were painted stylized designs of a madonna, a dove and a swan. The swan, unfortunately, looked more like a Boeing 707, but, said Lehmann, "I wouldn't dare change...