The first thing you need to know about Saturday’s Met opera transmission is that it starts at 10 a.m., one hour earlier than usual. The second: it’s a four-and-a-half hour marathon.
“Tannhäuser” is also Richard Wagner’s most accessible opera. It’s shorter than the six-hour “Die Meistersinger,” not to mention the behemoth “Ring Cycle.” It’s engaging. It’s tragic. And “Tannhäuser” nicely links to the German minnesinger tradition.
Wagner sourced a Grimm Brothers tale about a legendary medieval troubadour. Tannhäuser supposedly lived in the 13th century, roaming about the countryside in search of patrons. In the process, he competed in song contests and made all the village girls swoon. Sound familiar? Do I have to summon a rock-star analogy?
At the heart of this early Wagnerian opera lies a basic human conflict and the always popular trope of male competition.
There are two settings: Venusberg, a mythical pleasure grotto, and the environs of Wartburg Castle in central Germany. They represent the sacred and profane, the Christian-pagan dichotomy that drives the opera.
Like Odysseus and many male heroes in Western literature, Tannhäuser is torn between passion and purpose, physical or idealized love. Venus has lured him to her pleasure island and wants him to stay. Elisabeth, Wagner’s invention, represents a Christian life back home in Wartburg.
To heighten the drama, Wagner included a song contest in Act II where Tannhäuser and his rival, Wolfram, compete for glory and for Elisabeth. Wolfram sings about idealized love; Tannhäuser rebelliously praises carnal passion. Chaos ensues and a fight breaks out. Finally, the hero submits. He agrees to a Rome pilgrimage as penance.
More will not be given away here, but it doesn’t look good for Tannhäuser (tenor Johan Botha) – or Elisabeth (soprano Eva-Maria Westbroek). It’s not good either for Wolfram (baritone Peter Mattei) or Venus (mezzo Michelle DeYoung). Not to worry, the music transcends the human tragedy.
In 1845, the opera premiered in Dresden and was later revised for a Paris premiere in 1861. The French heavily criticized the lack of a traditional ballet. At first, Wagner refused to insert meaningless dancing. But a compromise finally resulted in an opening bacchanal to underscore the hero’s erotic conflict. Tannhäuser’s beautiful song to Venus then contrasts with the famous “Pilgrim’s Chorus.”
“Tannhäuser” will be sung in German with English subtitles. Bring a blanket, thermos and a pillow for the duration.
Judith Reynolds is a Durango writer, art historian and arts journalist. Email her at jreynolds@durangoherald.com.
If you go
The MET: Live in HD presents Wagner’s “Tannhäuser” at 10 a.m. Saturday in the Vallecito Room of the Fort Lewis College Student Union. Tickets: $23 general, $21 seniors, students and MET members, available online at www.durangoconcerts.com, by phone at 247-7657 or at the Welcome Center at Eighth Street and Main Avenue, or at the door. Note: Surcharges may apply. Running time: Four hours, 20 minutes. Sung in German with English subtitles.
