http://www.heraldsun.com.au/lifestyle/melbourne/melbourne-operas-lohengrin-is-a-triumpn/news-story/19ba2fcdd1512efefac5daf5127c7e45
Published online at Herald Sun 8th August and in print 9th August, 2017
With its riveting drama, glorious music, radiant voices and its mysterious medieval vision, Melbourne Opera adds a crown to its credentials with its new production of Richard Wagner’s sprawling romantic work, Lohengrin.
For a composer who created some of the most monumental works of the repertoire and who envisioned and had constructed an opera house exemplifying his ideals, there is no surprise that he dictated all aspects of production scrupulously.
Now almost 170 years since it premiered in 1850, the work beams under Suzanne Chaundy’s subtle and effective direction in an interpretation that is clearly suggestive of its intended 10th century Germanic setting.
Realism and fantasy collide on a background of impending battle in which Elsa of Brabant is wrongly accused of her brother’s murder. Sailing in on a swan (deftly staged with magical projections in a rain of mist), an enigmatic knight arrives to defend her honour, precipitating a marriage with the caveat that Elsa is never to question his identity. A big ask! And, just as there are no guarantees of victory in war, there are no guarantees of doubtlessness in love. When seeds of doubt are planted, Lohengrin becomes a dramatic essay on the attack of faith by reason.
In an extraordinary wash of rich colour and atmosphere from Chaundy’s all female creative team — Christina Logan-Bell (sets), Lucy Wilkins (costumes), Lucy Birkinshaw (lighting) and Yandell Walton (video designs) — Lohengrin pulsates as much visually as it does musically (bar a tentative start on opening night) under conductor David Kram’s splendidly measured tempos and the 70-piece MO Orchestra. Rallying clarion trumpet fanfares from the side balconies add an especially spectacular dynamic.
On a sculptured run of steps under a changing sky that reflects the mystery, menace and jubilation of the narrative, the cast delivered quality from top to bottom.
Wagnerian tenor Marius Vlad imparts calm and charisma in the taxing titular role as a gallant and near-saintly Lohengrin, his featherlight vibrato touching the air in a range of easy command and steadiness.
Making a formidable long-awaited return home to Melbourne, soprano Helena Dix confirmed her expertise in a captivating and tenderly calibrated vocal rendition of the innocent Elsa, her deep reserves of power gem-cut and pure.
On the dark side, Icelandic heldenbaritone Hrólfur Sæmundsson’s imposing and agitated Telramund is a vocally percolating spitfire, matching the evil and crazed Ortrud who mezzosoprano Sarah Sweeting conjures with magnificent, threateningly carved and luscious-voiced cunningness.
As King Henry the Fowler, gravelly bass and familiar figure at MO, Eddie Muliaumaseali’i presides with confident, balanced authority in what points to a grand career highlight and baritone Phillip Calcagno impresses with unwavering resonant muscularity as his Herald.
Guided by Raymond Lawrence, the vivid, undulating immensity of the 60-strong MO Chorus contribute markedly to the many tableaus and are directed with increasingly detailed action as the drama progresses.
Chaundy’s Lohengrin addresses conflict, doubt and vulnerability sublimely on a scale of love and war. On a scale of should I or shouldn’t I, no procrastination necessary. Simply go!
Melbourne Opera
Regent Theatre, until 12th August
Robert Blackwood Hall, Monash University, 19 August
4.5 stars
Production Photos: Robin Halls
Published online at Herald Sun 8th August and in print 9th August, 2017
For a composer who created some of the most monumental works of the repertoire and who envisioned and had constructed an opera house exemplifying his ideals, there is no surprise that he dictated all aspects of production scrupulously.
 |
| Marius Vlad as Lohengrin with Melbourne Opera Chorus |
Realism and fantasy collide on a background of impending battle in which Elsa of Brabant is wrongly accused of her brother’s murder. Sailing in on a swan (deftly staged with magical projections in a rain of mist), an enigmatic knight arrives to defend her honour, precipitating a marriage with the caveat that Elsa is never to question his identity. A big ask! And, just as there are no guarantees of victory in war, there are no guarantees of doubtlessness in love. When seeds of doubt are planted, Lohengrin becomes a dramatic essay on the attack of faith by reason.
In an extraordinary wash of rich colour and atmosphere from Chaundy’s all female creative team — Christina Logan-Bell (sets), Lucy Wilkins (costumes), Lucy Birkinshaw (lighting) and Yandell Walton (video designs) — Lohengrin pulsates as much visually as it does musically (bar a tentative start on opening night) under conductor David Kram’s splendidly measured tempos and the 70-piece MO Orchestra. Rallying clarion trumpet fanfares from the side balconies add an especially spectacular dynamic.
On a sculptured run of steps under a changing sky that reflects the mystery, menace and jubilation of the narrative, the cast delivered quality from top to bottom.
 |
| Helena Dix as Elsa and Marius Vlad as Lohengrin |
Making a formidable long-awaited return home to Melbourne, soprano Helena Dix confirmed her expertise in a captivating and tenderly calibrated vocal rendition of the innocent Elsa, her deep reserves of power gem-cut and pure.
On the dark side, Icelandic heldenbaritone Hrólfur Sæmundsson’s imposing and agitated Telramund is a vocally percolating spitfire, matching the evil and crazed Ortrud who mezzosoprano Sarah Sweeting conjures with magnificent, threateningly carved and luscious-voiced cunningness.
As King Henry the Fowler, gravelly bass and familiar figure at MO, Eddie Muliaumaseali’i presides with confident, balanced authority in what points to a grand career highlight and baritone Phillip Calcagno impresses with unwavering resonant muscularity as his Herald.
Guided by Raymond Lawrence, the vivid, undulating immensity of the 60-strong MO Chorus contribute markedly to the many tableaus and are directed with increasingly detailed action as the drama progresses.
Chaundy’s Lohengrin addresses conflict, doubt and vulnerability sublimely on a scale of love and war. On a scale of should I or shouldn’t I, no procrastination necessary. Simply go!
Melbourne Opera
Regent Theatre, until 12th August
Robert Blackwood Hall, Monash University, 19 August
4.5 stars
Production Photos: Robin Halls
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