25 August, 2013

There is a good case for arguing that music-dramas like Tristan and Parsifal actually work better in the concert hall than in the theatre. Either the visual image does not live up to our expectations or the director’s conception seeks only to annoy. When one adds the presence of somebody like Sir John Tomlinson then there is hardly any need to argue the case. His Gurnemanz is at once totally convincing and alive, every nuance and subtlety of the character opening before us as the narrative progresses. Sir Mark Elder’s pacing of the opening act was slow but with such attention to detail that our interest never flagged. Thankfully Sir John’s Gurnemanz was not alone and all of the surrounding knights and squires were cast from strength.

Detlef Roth was a late replacement as Amfortas and provided a fascinating interpretation. The voice is lighter than many who sing the part but his sense of vulnerability and psychological confusion was impressive. The commanding blackness of Tom Fox’ Klingsor was an effective foil.

Katarina Dalayman gave us an unusually subtle Kundry. The voice changes character as she moves from the act one penitent to the seducer of act two. Her seductive powers here came into their own and there was a real clash of wills when she confronted Parsifal. Her terrifying cry of lachte became the lynch-pin of the evening. In the title role Lars Cleveman had the generous tones needed to fill the hall but the intelligence to convince us of Parsifal’s emotional growth.

As with Tannhauser earlier this season, the Royal Albert Hall has to be one of the finest venues for off stage effects. Here the choruses from the heights – Halle Youth Choir and Trinity Boys Choir – were spine tingling. On the platform the Royal Opera Chorus hardly needed their scores and sang with aplomb. After the slower tones of the first act, the Flower Maidens chorus seemed positively dancelike. Sir Mark Elder proved yet again that he is one of the finest Wagner conductors alive today and produced extended passages of glorious sound from the Halle orchestra.

I am very grateful to the BBC Iplayer and its ability to catch up what one has missed. Unfortunately the first act over-ran by almost half an hour. Given that this was both a Sunday and bank-holiday, trains were not at their best and I had to abandon the last act to ensure I got home.  Thankfully I was able to catch up early the following morning. While grateful that this facility is available it was not the same experience as being in the hall itself! BH