Germany Wagner, Lohengrin: Soloists, Refrain, Further refrain and Extras of Theater Hagen. Philharmonic Orchestra Hagen / Joseph Trafton (conductor). Theater Hagen, 20.5.2024. (DMD)
Manufacturing:
Director – Nelly Danker
Stage design and Video – Robert Pflanz
Costume design – Amélie Sator
Lighting design – Martin Gehrke
Dramaturgy – Francis Hüsers, Thomas Rufin
Refrain director – Julian Wolf
Forged
Heinrich der Vogler – Dong-Received Search engine optimisation
Lohengrin – Tobias Haaks
Elsa von Brabant – Dorothea Herbert
Friedrich von Telramund – Insu Hwang
Ortrud – Angela Davis
The King’s Herald – Kenneth Mattice
4 Brabantine Nobles – Johan de Bruin, Sebastian Joest, Younjin Ko, Matthias Overmeyer
Duke Gottfried – Sarah Herrmann
Pages – Nino Müller, David Pamin
One of many main German theatre magazines, Die Deutsche Bühne, named Theater Hagen as one of the best within the class of ‘Convincing theatre work positioned at a long way from main centres of theatre’ for 2018/19. This manufacturing of Lohengrin, premiered in March 2024, is an efficient instance for the obvious continuation of this praise- and prizeworthy development.
Probably distinctive within the stage historical past of this opera, the inventive workforce of director and above all costume designer Amélie Sator positioned the motion of the opera on the earth of birds. Lohengrin was a blue peacock, Elsa a white peacock. Ortrud was a golden pheasant, King Heinrich a hoopoe, the herald a blue jay, Telramund a tragopan. This appeared intriguing, though the massive fan worn by Elsa was slightly wobbly and Tobias Haaks as Lohengrin had some problem taking it off within the Act III. Among the singers did extra by means of imitating fowl behaviours and actions – significantly Kenneth Mattice because the Herald was spectacular on this respect. Others did much less. The programme booklet offered some background info on the birds, nevertheless it didn’t add to the interpretation of the characters by means of the birds they had been related to. This actually inventive concept was not taken far sufficient.
The set by Robert Pflanz for this fowl world consisted of a mix of vibrant and imaginatively designed projections onto three rectangular panels hung from the ceiling mid-stage, and onto the again wall and objects on the revolve, comparable to a construction of gray rocks (with predominantly rounded, slightly than sharply chiselled edges). The bed room within the third act was recommended by a fowl’s nest stuffed with white pillows. The photographs created by this set had been placing and as stunning in color because the fowl costumes.
Tobias Haaks as Lohengrin was a convincing actor, though the make-up didn’t enable for a lot by means of facial features. His singing was spot-on, with specific power within the increased vary of the voice, and the higher the louder he was singing. There may be a lot potential for the voice to develop additional into the heroic, or even perhaps character, tenor discipline. Dorothea Herbert’s soprano was properly prepared for the function of Elsa: it was safe, clear, radiant, and equally nice throughout the vary of pitch she was in a position to make use of appropriately. Angela Davis contributed a robust Ortrud. Her decrease register was spherical and properly developed, offering a profound foundation for the singing within the higher vary. Insu Hwang was in a position to give Telramund a multifaceted profile. There was a transferring second when he had accused Elsa and she or he appeared earlier than the King. All the real love he had for her earlier than she rejected his proposal was nonetheless current, and apparent from his response to her. Ortrud, his second selection as spouse, noticed this, and gently touched his arm, comforting him, by no means jealous or envious: stuffed with concern for him, for his emotions, and content material along with her function on this context. Insu Hwang’s voice was sturdy and really musical. Dong-Received Search engine optimisation sang the well-intentioned, forthright King Henry with sonorous bass voice. Kenneth Mattice gave his all because the Herald.
The orchestra was extremely dedicated: Joseph Trafton, the corporate’s Basic Music Director, created a wonderful stability between stage and pit, by no means drowning the singers’ voices whereas on the similar time managing to create a nuanced soundscape with the small variety of musicians that match into the theatre’s pit.
A lot promise right here, then, and artists to look out for sooner or later.
Daniel Meyer-Dinkgräfe
Featured Picture: Theater Hagen © Yuliana Falkenberg
