Lohengrin got off to an unpromising start before the curtain even rose, when a company manager stepped forward to announce that, although no cast members were sick (cries of relief), there were serious malfunctions in the set and props (groans and laughter), and that there would therefore be no swan. Lohengrin without the swan is like Hamlet without Yorick’s skull, so we feared for the worst until Sir Donald Runnicles began the overture with glistening, feather-light strings playing the Grail music, and from that moment on the evening, in spite of technical problems, was a musical triumph.
The opening set (such of it as was visible) showed a war-torn landscape with burnt stumps of trees, against which Heinrich der Vogler conducted his investigation into what had gone so wrong with Brabant that the people could not supply him with an army. The Austrian bass Günther Groissböck had stature and grandeur in the role of Heinrich, and was matched by the haughty, aggressive stance and tone of John Lundgren as Telramund. However, the two voices everyone was listening out for came from the stunning pairing of Waltraud Meier as Ortrud, singing with clotted venom, and Anja Harteros, fresh from winning the vocal category of this year’s International Opera Awards, who sang Elsa’s dream with astonishing power and purity of tone.
The question of how Lohengrin was to enter without his swan was solved (partly) by a huge cloud of stage smoke. Once it had cleared, we saw that Klaus Florian Vogt had been tricked out in clip-on swan’s wings mounted on a backpack arrangement, over a costume of flowing white. If Lohengrin is an angel from the start, and clearly more divine than human, it cuts a good deal of the potential humanity from the story, and makes Elsa’s passion for him even stranger and more self-deluded than Senta’s for the Dutchman. Vogt sang with clarity and intensity even in the most high-lying of the phrases, with a beautiful command of pianissimo and a lovely cantilena. Thankfully he has not moved into the heavier end of the Wagner Heldentenor roles, and with any luck will hold off from the Siegfrieds and the Tristans for a good while longer, while his voice still has the lyrical colour and beauty needed for the earlier, somewhat lighter roles. But what a Parsifal he’ll make, in time!
The fight with Telramund was, as it usually is, more magic manipulation than swordsmanship, and Act I ended with Elsa accepting her husband, and Ortrud and Telramund fuming in the wings.