Review of ‘Tannhäuser’ by New National Theatre Tokyo

Feb 12, 2023, 02:00 pm

A performance that showed off the capacity of the 25 years/ Reflecting on the significance of ‘Performing opera in the East Asia’

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A scene from opera 'Tannhäuser' by New National Theatre Tokyo. ⓒMasahiko Terashi / Provided by New National Theatre Tokyo

Currently, our performing arts is still in stagnation, due to the aftermath of COVID-19 and the depression. But Tokyo, which I visited in three years, was under quite different atmosphere, despite being under the similar situation. Both New National Theater Tokyo(NNTT), that I have visited to watch the opera ‘Tannhäuser’ , and Santori Hall that I have visited to watch another concert had vigor that Korean performance halls fatigued with COVID-19 lacked.

Last year, NNTT had its 25th anniversary. The anniversary which should have been grand had a lot of restriction due to COVID epidemics. Even so, the 25th anniversary program is continuing on, as it sill is the 2022-23 season. NNTT, which opened in 1997, is evaluated as the first and the best national theater of Japan. Opera, ballet & dance, and drama each has an artistic director, and since it has opened in 1997, it had premiered more than 750 performances.

NNTT is famous for both producing high-level Western classical opera, and steadily creating Japanese opera to introduce to the world stage. In February of 2019, ‘Asters’, the first work in the series “Japanese Opera to Be Presented on the World Stage”, was performed. Then on November of 2020, when COVID-19 was at its worst, the second opera of the series, ‘A Dream of Armageddon’ was performed. And in February of the following year, it was also introduced as an online streaming. Thus, NNTT is both in name and reality, the representative of Japanese theater, leading Japanese performing arts scene.

The Japanese are known for their love of Wagner. The interest in Wagner and his music has always been great, so that the Japanese chapter of the Wagner Society was established, in the early 20th century, where the Western music was just being introduced to Japan. Opera ‘Tannhäuser’ filled the house, although it was 2 pm on a weekday, proving him still popular as ever. ‘Tannhäuser’ was the talk of town, for many aspects of it.

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A scene from opera 'Tannhäuser' by New National Theatre Tokyo. ⓒMasahiko Terashi / Provided by New National Theatre Tokyo

Directed by a German director Hans-Peter Lehmann, this production is a re-run of the performance of 2007-08 season that was greatly applauded. Alejo Pérez, who is debuting on NNTT for this production, is the musical director of Opera Vlaanderen who is getting noticed as one of the premier opera conductors. Also, Stephen Gould, one of the world-famous Heldentenor, played the titular role of Tannhäuser, which attracted further attentions.

The stage, which unfolded during the overture, didn’t feel old at all, despite more than 15 years old. Transparent acrylic walls constructed Venusberg, which reminded me of a scene in Disney’s ‘Frozen.’ This palace transforms into Wartburg Castle. The transformation from the palace of pleasure and sensuality to space of peace and nobility was done elaborately yet naturally, allowing the audiences to immerse themselves.

The first act starts with the dancers’ bewitching movements in Venusberg. Stephen Gould’s Tannhäuser and mezzo-soprano Eglė Šidlauskaiė’s Venus both sang like spears, ready to stab each other, generating tight tension. The duet was rather confrontational, than sensual. Describing the scene of confrontation between Tannhäuser, grown weary with Venusberg, and Venus, who wants to keep him in her palace, the two singers vocally faced off against each other.

On the third act, the voice of Stephen Gould was slightly drier than that of the first and the second act, but it expressed Tannhäuser’s despair and sensitivity, proving that the singer still lived up to his name. Considering that he was a tenor older than 60, his vocal strength was remarkable.

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A scene from opera 'Tannhäuser' by New National Theatre Tokyo. ⓒMasahiko Terashi / Provided by New National Theatre Tokyo

Soprano Sabina Cvilak, who played Elisabeth, showed the best prowess of the day. With clear and lyrical timbre, rich and powerful voice, and precise tune, she just might have been the soprano that Wagner considered as a woman of salvation.

Baritone David Stout, who played Wolfram, performed noble-minded knight well with elegant and dignified voice. Japanese singers also were uniformly outstanding, presenting a very balanced production. ‘The Pilgrim's Chorus’, the opera’s cream of the crop, was beautiful in every way, impressing the audience.

Tokyo Symphony Orchestra led by Alejo Pérez played a great role so that the singing part could do its best job. The strings were grand yet delicate, and the woodwinds and the brass played smooth melody based on the abundant breath of the players. The orchestra welded organically into the singing parts to perfect the production. I would like to evaluate the debut stage for Pérez on the NNTT as successful.

The opera, with its singing, orchestra, staging, lighting, costumes and props harmonized with each other, became an excellent production. This production is a re-run of the 10th anniversary of the NNTT, on the 25th anniversary. Appreciating what NNTT has achieved in a quarter of a century, I reflect on the significance of ‘Performing opera in the East Asia’ once again.

Sooyeoun Sohn (Opera critic/ Professor at Dankook University)