SEATTLE – In Seattle Opera’s well-rounded production of Wagner’s “Lohengrin,” which opened Saturday at McCaw Hall, it’s the bad guys who are really good.
Jane Eaglen as the scheming sorceress Ortrud and Greer Grimsley as her evil husband Telramund will stop at nothing to claim a kingdom that is not rightfully theirs. Before the night is over, there are false accusations of murder, blood on the floor and broken hearts all around.
But what a grand time Eaglen and Grimsley have in creating all this chaos, singing and acting up a storm throughout the four-hour-plus production, setting a high standard in this season-opening production.
The company premiered this “Lohengrin” 10 years ago, and it arrives with a new cast but the same superb sets and staging. It’s a tremendous evening of theater and music.
Wagner’s compelling story is of a mysterious knight – Lohengrin is his name – who arrives out of the mist on a boat drawn by a magic swan. He’s come to save Elsa and her kingdom from the evil plots of Ortrud and Telramund. In return, Elsa promises to never ask his name or origin, but – alas – she cannot keep her promise. The spell is broken and Lohengrin must leave forever.
Seattle Opera tells this story with clarity and vigor, thanks in large measure to the ingenious set by Thomas Lynch and the brilliant staging and direction of Stephen Wadsworth, which combine to offer a fluid and coherent performance with everything in balance.
With the exception of the dazzling swan scenes, in which Lohengrin glides through a sea of mist, walks through a field of tulips and into the world of Wagner, there’s little else in the way of special effects.
To my mind, this enhances the drama of the story and sets the singers and their story into high relief.
Under conductor Asher Fisch, the orchestra made the most of Wagner’s ravishing music, with the opening chords setting the tone for an evening of high musicianship.
“Lohengrin” is packed with choral music, and the Seattle Opera Chorus was up to the challenge on opening night, producing a wall of wonderful sound.
Marie Plette offered a touching portrait of Elsa, a woman wounded by false accusations of murder and touchingly in love with Lohengrin.
Albert Bonnema, a Dutch tenor making his Seattle Opera debut in the role of Lohengrin, had vocal problems on opening night. The singing was occasionally uneven, especially when he pushed his voice too hard. One wished for a Lohengrin with more commanding demeanor as befitting a Knight of the Holy Grail.
Gidon Saks offered that needed regal presence in the role King Heinrich. The bass-baritone, making his Seattle Opera debut, gave a memorable performance in a relatively small role.
Rounding out the principal cast were Gordon Hawkins as the Royal Herald, and John Uhlenhopp, Jon Kolbet, Gary Simpson and David Crawford as the nobles.
Rozarii Lynch photo
Greer Grimsley as Telramund (top of stairs), Albert Bonnema as Lohengrin (below, left), Marie Plette as Elsa (center), Jane Eaglen as Ortrud (right) and the Seattle Opera Chorus in “Lohengrin.”
“Lohengrin”: A Seattle Opera production through Aug. 21 at McCaw Hall, Seattle Center. Sung in German with English captions. $47-$123, 206-389-7676, 800-426-1619, www.seattleopera.org.
Review
“Lohengrin”: A Seattle Opera production through Aug. 21 at McCaw Hall, Seattle Center. Sung in German with English captions. $47-$123, 206-389-7676, 800-426-1619, www.seattleopera.org.
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