Review. Mimi Jacobs
“People are attracted to that which moves away from them.” Plotline
The Set
The smooth scene changes between Venus’ world and the climate ravaged earthly desert were cleverly done with a mere switch of the lights and made me realize why this year’s opening night was plagued by climate change protesters. Prior to opening curtain, I lamented missing all that action that seemed to be the main attraction accordingly recounted in OperaWire. But in this performance, all the high drama was on stage.
Prelude
The opening prelude was an entire opera in itself. With the violins reaching a titillating pitch, the orchestra working the cords like John Mayer in Your Body is a Wonderland (and to similar effect) as the curtain rose on the opening scene. When the trumpets sounded in climax I almost cried out in ecstasy, err I mean cried. The crescendo aptly leads into the opening orgy, née ballet scene. Think of the recent film Midsommar crossed with Suspiria.
Act I
A bunch of people shagging in their nymph gear.
Act II
The original Eurovision sound contest! Complete with the winning contestant and heartthrob being canceled!
Act III
Will it be a happy ending? Surely not. It’s all going downhill. Short, sweet and tragic. Worth sticking around, if not just to catch the few bars that inspired The First Noel.
The Scene
The Saturday matinee surely draws a different crowd than my usual Fridays Under 40 with a feast of women in furs and face masks replacing the Gen Z art school crowd.
Clocking at 4.5 hours, the two 30-minute intermissions were just what the doctor ordered and lend this day at the opera a house-party feel in a grand setting.
Although this was the final performance of this production at the Met this season, it is worth a visit whenever this opera comes to a stage near you.
And let’s not forget why we’re purportedly here…?! The Music
Tannahäuser has all the goods and (and the goddess): Tremendous choral ensemble with voices soaring to the Gods; expert strings, wind, and brass sections abounding with the plot-centric harp making an appearance as an early leitmotif; and, of course, fat ladies singing.
