But Haenchen has a good sense for the progression through Wagner's music, always elegantly shaping the drama. Some of the more lyrical passages loose out under Haenchen’s baton, particularly the Pilgrim’s Chorus, which never fully blooms. Tempos are generally fast – the performance ended 20 minutes earlier than advertised – and phrasing is clipped and precise. Tempos are generally fast and phrasing is clipped and preciseĬonductor Hartmut Haenchen can’t match the effortless breadth and fluency that Semyon Bychkov brought to the production on its first run – who could? But nor does he try: Haenchen’s approach is slicker, less opulent but more dynamic. Disparate ideas, but they all fit together, in a production that for this revival proves a good vehicle for a close to ideal cast in the major roles. Costumes, by Jon Morrell, are a mix of new and old, mostly in drab colours, with the crowd in the song contest incongruously dressed as Kalashnikov-toting guerrillas. The drama that follows is much more static, however, with brief moments of illuminating Personenregie, particularly in the song contest. The Venusberg choreography, by Jasmin Vardimon, is modern and slick, as dynamic as it is sensual.
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