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.