There’s obvious irony in a Hungarian directing Wagner’s Lohengrin; even more so when that director sees in Wagner’s Brabant parallels with Orban’s Hungary. It’s quite interesting to see how this plays out in Árpád Schilling’s production recorded at Staatsoper Stuttgart in 2018. The first thing to say is that this is an extremely minimalist production with a circle on stage , a curved back wall and not much else, though a bed appears in Act 3. It’s very monochrome; the stage and the characters are all more or less in shades of grey until late in the second act when the Vier Edelknaben (here definitely women) and then the chorus appears in colourful but still eclectically modern, casual outfits. The only real device for telling the story, apart, from the words and music, is the way groups of characters are arranged on stage.
Christoph Marthaler’s 2009 Bayreuth production of Tristan und Isolde is set in a sort of Stalinist brutalist aesthetic populated with stock figures from the 1950s. Passion is at a minimum and the characters all seem to be trying as hard as possible to be conventional representatives of their roles. The only one who shows any real human engagement is Kurwenal who comes across almost as a commentator on the action, or even a director. There’s also some fairly stylized gesturing in a sort of pseudo-Sellars manner. It’s epitomised by the costumes in Act 2 where Isolde and Brangäne look like dolls dressed as Hausfraus and Tristan wears a hideous blue blazer. This is all rather reinforced by Michael Beyer’s video direction which uses a lot of close ups but also has a curious stillness about it that seems to amplify the emotional void; if indeed one can amplify a void. Oddly though, in places this approach really works in that the distance, coupled with very precise blocking, gives space for the music’s essential intensity to come through. Act 2 Scene 2, perhaps the emotional crux of the piece, is very moving and the So stürben wir, um ungetrennt is quite impressive.