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Lohengrin, from Bayreuth 2018, is in a production by Yuval Sharon that propounds that the knight is the bringer of electricity to an energy-starved society, and who is corrupted by his own desires in the process. It sounds tricksy but is fascinating and convincing, especially in its examination of the relationship between Elsa and Ortrud. It looks moody and stunning in the designs by Neo Rauch and Rosa Loy (the garish Act III, Scene i apart) – like a somber 17th-century Dutch painting twisted into a nightmare vision. Christian Thielemann conducts a luxurious reading of the opera and the cast is to match. Piotr Beczała’s Lohengrin and Anja Harteros’ Elsa are equal in pure and golden tone and look a dream. Waltraud Meier still has surprising reserves of power at the scything top of her voice as Ortrud. Thomas Konieczny’s Telramund is baleful, and Georg Zeppenfeld’s Heinrich optimum casting.

Francis Muzzu Read the full review on Agora Classica


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