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| Klaus Florian Vogt |
- Funny that the sound-engineers didn't tune their instruments beforehand, to account for the magnificent acoustics of the auditorium in Bayreuth.
- fyi, I'm recording it
- Zeppenfeld is great as usual!
- I wonder how much instructions from Neuenfels received the set and costume designer. This show has that same neat & classy design we could see in other Neuenfels productions. Great job anyway!
- Annette is not Anja Harteros nor Anne Schwanewilms but her rendition of Einsam in trüben Tage is excellent anyway
- And so we have our first interruption... that Arte fills up by Jonas Kaufmann singing an aria from Zauberflöte...
- Feed is still screwed up -- another aria by Kaufmann, this time from Fidelio. Mannnn...
- Woohoo we're back -- it's all good!
- If I missed to strongly emphasize how excellent Samuel Youn is, I'm doing it now! If there is someone who could inherit the brilliance of Kwangchul Youn that's Sam
- Seriously, I admire Jonas Kaufmann's musicality and intelligence, but KFV is just the greatest Lohengrin -- his unearthly, almost vibratoless, voice is like tailored for this role... Sublime Nie sollst du mich befragen
- I expected to see our dear Tomas Tomasson as Telramund. It's Jukka Rasilainen instead. OK Jukka is good too...
- Zeppenfeld rulz!
- Neuenfels takes the opposite route to what we usually see in Lohengrin these days. Lohengrin is not coming to be a manipulator; instead, he is indeed a 'savior'. With arrival of Lohengrin all the folks from Brabant got rid of their black rat0coats, and after Lohengrin expressed his love to Elsa, they come in a totally human shapes (except for the ratsy feet and hands) -- Errrr unless Neuenfels thought the humans were easier to manipulate than the rats?! [I wouldn't be surprised ;)]
- It is a laboratory! The light hoops above the stage are the instruments for observation.
- God do I love this opera!
- If you get to listen to Petra Lang singing Wagner please do -- it is really special. She is a Lieder singer with a big voice and so every single word she pronounces is perfectly articulated, thought of, and weighted according to the text... That quality is extremely rare among sopranos and/or mezzos.
- Petra Lang is awesome!
- Annette Dasch is gooooood...
- Neuenfels makes the decontamination crew changing the stage configurations. The whole Brabant is contaminated by the Lohengrin's Swannery???
- Neuenfels' idea with rats is theatrically GREAT!
- Love the chorus
- ... and aren't the rats adorable?!
- As for the public encounter between Elsa and Ortrud: Quelle classe!
- SUPERB SHOW
- Bottom line is that this is a narrative staging with a particularly beautiful and modern aesthetics. The idea with Brabant as a laboratory with rats is a theatrical accessory that is very cleverly lead through the story without taking anything away from the original plot.
- Intermission - diner time
- I screwed up smt while recording the second act. RATS
- Loving the show!
- Annette Dasch is really good too. Overall the singing in this Lohengrin is outstanding. No Heppner, Fritz or other impossible Lohengrin, no heavy-voiced Elsa, superbly singing Ortrud... and the King is singing royally too. Great!
- Superbly created scene with Telramund dressed as a rat coming to the bedroom of Lohengrin and Elsa at the moment when Elsa dared to ask Lohengrin about his origins.
- Only later we understand it was Telramund disguised...
- Here is the voice blessed by Gods singing In Fernem Land
- No seriously, nobody gets even close to this... Sandor Konya comes like an amateur in comparison with KFV
- Klaus Florian Vogt ROCKS!
- Wow! What a twist in the end...
- What a fantastic work by EVERYONE in this production. Congratulations to all of them for a superb job and huge thanks for a wonderful opera night! Eberchart Friedrich and his remarkable chorus, Andris Nelsons and a magnificent Bayreuth Festival orchestra, Neuenfels and his team for a great staging, and the most impressive soloists!
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| Andris Nelsons |
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