Richard Wagner: Tannhäuser

Slovenian National Theatre Maribor Symphony Orchestra
Concertmaster: Oksana Pečeny

Slovenian National Theatre Maribor Opera Choir
Repetiteurs: Sofia Ticchi, Anna Fernández Torres, Robert Mraček
Prompter: Sabina Alatič
Stage Managers: Iztok Smeh, Matjaž Marin

 

Running time: The performance lasts approximately 200 minutes, including two intervals

Wagner’s Tannhäuser belongs to that group of music-theatrical works in which the composer’s transition from Romantic opera to the later aesthetic conception of music drama is revealed with particular clarity. First performed in Dresden in 1845, the opera draws on the medieval legend of the knight and poet Tannhäuser, presenting his inner division between two opposing worlds: the corporeal sensuality of the Venusberg and the moral-religious order of Wartburg.

It is precisely this dialectic of erotic desire, guilt, and longing for redemption that determines both the dramaturgy and the musical fabric of the work. From a musicological perspective, Tannhäuser is especially compelling because, on the one hand, it still preserves important features of Romantic and grand opéra, while on the other it already anticipates Wagner’s later conception of the Gesamtkunstwerk in the form of music drama. As Carl Dahlhaus observed, the motifs in this score have not yet developed into leitmotifs in the later, strictly semantic sense; rather, they often function as reminiscence motifs, eliciting situationally conditioned associations. Through striking musical contrasts, Wagner delineates the sensuous world of Venus, marked by chromaticism, expressive melodic writing, and sumptuous orchestration, while the scenes at Wartburg are shaped by a calmer diatonic design, choral song, and sonic allusions to the tradition of Gregorian chant. A particularly significant place in the opera is occupied by the famous Pilgrims’ Chorus, which dramaturgically frames the entire work as an allegory of the path toward redemption, while the overture already offers a condensed foreshadowing of Wagner’s later tendency toward the symphonic construction of musical material. Precisely because of this intermediate position between tradition and invention, Tannhäuser remains one of the key works of the European operatic canon. Next autumn, it will come to life for the first time in the history of Maribor in all its symbolic, musical, and theatrical complexity in a production by the internationally acclaimed director Frank Van Laecke, created as an international co-production of SNG Maribor, and the Croatian National Theatre in Zagreb.