The result opens out the modernity of Wagner’s tale ofromanticism versus eroticism, emphasising the psychology of the titularhero. Intrigued by the Royal Opera's Spring 2016 season?įor his 2010 production, director Tim Albery ( Peter Grimes)went down a radically different path, transplanting the action to a debris-strewnwasteland and making use of meta-theatrical techniques. As such, ithas often been directed as a period romp.

And it was his first opera to delve into thecontinent’s rich medieval folklore,replete with knights, meistersinger competitions and Pagan deities. For others, its four and a half hour runtime featuresunpalatable longueurs, the result of the young composer still finding his way.What is undeniable, though, is that Tannhausermarks a significant step on the way to the composer’s later masterpieces.Wagner’s great theme, the dichotomy between spirituality and sensuality,receives its first airing here.

Wagner’s second mature opera, Tannhauser has long divided listeners.For some, it is the first greatflowering of his talents, with a stunning mastery of words and music –listen to the Pilgrim’s Chorus, or Wolfram’s Act III aria, and it can bedifficult to disagree. It is a piece of astoundingly richorchestration, dwarfing most overtures before or since. Beginning withtender simplicity, it slowly builds into something bracingly grandiose, evokingboth harmonious love and internal conflict. From the very first bars of Tannhauser’smagisterial overture, you know you’re in the hands of genius.

Tannhauser royal opera house