On Tuesday I went back to my old stomping ground, the Wiener Staatsoper, a return not particularly highly anticipated by me nor, I assume, by anyone else. With the Staatsoper you roll your dice and you take your chances—even the most formidable casts can be undone here by a total lack of rehearsal. But sometimes you get lucky (and not always at the performances with all the famous people). And despite having only one shot, this time I did. This dark, dreamy Pelléas, a “new” production by Marco Arturo Marelli, is surprisingly worth seeing.
Hans Neuenfels’s Bayreuth Festival Lohengrin has become an improbably beloved production. Klaus Florian Vogt’s Lohengrin is justifiably the most popular performance of the festival and the score sounds amazing in the space, even though it predated the Festspielhaus. But the production: famous for its chorus of rats, it seemed like the kind of thing that would be remembered for one weird image, put into a collective Strange Opera photo album along with Neuenfels’s Nabucco with bees and that Bieito Ballo that no one can get over. Instead it became an almost instant classic. In part it is memorable for the rats’ indexicality, yet the rats are not only an image but a compelling idea. And while the rats would seem to preclude the romantic knight in shining armor aspect of this opera, that’s not really what happens.