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Ask Not Whence I Came—Revolutionary Spirit and Romanticism in Lohengrin
©MatthiasJung/Deutschen Oper am Rhein
by Hung Hung
Lohengrin is a fairytale in which the Swan Knight (Lohengrin) comes to a royal court shrouded in conspiracy to save a (wrongfully) disgraced princess before he gracefully retreats to where he came from. Basically, it is the Middle Ages version of the American Western Shane. However, the opera is not so simple, as it also embraces the idea of challenging political authority. In fact, the writer, WAGNER, submitted the piece just before joining the revolutionary May Uprising (1849) in Dresden, which was suppressed, forcing him to flee. As a result, its premiere in Weimar in August 1850 was conducted by LISZT; wanted by the authorities, WAGNER had fled to Switzerland.
The spirit of revolution filled WAGNER's mind. He viewed himself as an innovator in not only art but also culture and politics. The Swan Knight was a reflection of himself, requesting that the world trust and even religiously believe in him unconditionally. Originally a poor, unknown artist, he had to think of a way to convince Dresden to give him sufficient resources to create high art and save the world. Much like the protagonists in The Flying Dutchman, Tannhäuser, and Lohengrin, he sought someone who would not judge him for his past. Would you trust a nobody? Ask me not where I come from, regardless of whether I hail from depravity or divinity: Is this not the very prototype for WAGNER’s "innocent hero"?
The court in Lohengrin is under the magical control of Ortrud, wife of Count Friedrich of Telramund. The dark trickery in the original plot is often reinterpreted in new productions as a reflection of contemporary politics, but in her version for the Deutsche Oper am Rhein, director Sabine HARTMANNSHENN has made a corporate headquarters the setting, depicting what happens in the financial world during economic crises. The king, who is to rally them against foreign marauders in the original version, is replaced by the chairman of a bankrupt corporation. A massive stairway connects two floors. In Act III, a mere arc-shaped curtain delineates the marriage bed, as if the bridal chamber were in the performance hall, offering minimal privacy. The marriage bed, as the core of the power struggle, brilliantly makes visual the contrasts in the opera. In this era of TRUMP's second term, where money dominates politics, this rendition is bound to strike a deeper chord with you.
In the opera is the well-known "Bridal Chorus," reminding us of WAGNER's fascination with the issue of marriage. Though the main theme of the opera is the struggle for power, there are two conflict-laden marriage-related scenes. At the beginning of Act II, the antagonist husband and wife engage in an argument, in which Ortrud yells at her husband for his weakness with as much vigor as does Lady Macbeth. Act III is the wedding night of Lohengrin and Elsa, during which a suspicious line of questioning destroys the possibility of their fairytale marriage and brings about another transfer of political power.
Weiwuying General and Artistic Director CHIEN Wen-pin says this is his favorite opera by WAGNER because it is the latter's most "Italian" opera (after writing it, he began focusing on music dramas). Writer Thomas MANN hailed the piece as the peak of Romanticism. It contains love, taboos, and perfectly beautiful arias. Even though the innocent Elsa and sneaky Ortrud sing a duet about loyalty and forgiveness in Act II, if you ignore the lyrics, it actually sounds like they are discussing love.
Lohengrin is the first instance in which WAGNER replaced the conventional overture with a prelude. The Act I prelude, with the violin's crystalline high notes, shapes a spiritual world beyond the mundane. This is often the beginning of many people's fascination with WAGNER (including mine). 21 years after the opera's premiere, TCHAIKOVSKY summed up its unparalleled influence:
The "splendid prelude to Lohengrin … perhaps, is the most successful and inspired composition by the celebrated German composer [Wagner]. It depicts the kingdom of light, truth and beauty ... [in which] Wagner used for the first time a brilliant orchestral effect that has subsequently been used by all contemporary composers when they need to represent something highly poetical in their music."
Thanks to the enduring power of the music, even bold reinterpretations (like this version’s ending) can stand, allowing the audience to indeed believe and not need to ask any questions as they gladly accept WAGNER’s gift.
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