BAYREUTH – Just under 41 hours after taking his final bows for performing the titular character in “Lohengrin” at the Bavarian State Opera in Munich, Piotr Beczała traveled 150 miles (241 kilometers) to partake in another rendition of the same Wagner opera at the Bayreuth Festival Theatre.
Wagner’s operatic roles are notoriously demanding, often requiring two or three days of rest between shows to ensure vocal recovery. Beczała received resounding applause both in Munich on Wednesday and at Bayreuth on Friday.
“I felt a bit of pressure because Christian Thielemann is returning to Bayreuth for this production,” commented the 58-year-old Polish tenor, highlighting his aim to satisfy the conductor. “We collaborated on this in 2018 and 2019, so, yes, I accepted this intense schedule.”
Limited rehearsal time
The cast, including Beczała, arrived on July 12 to rehearse for four hours at a studio in preparation for the revival of Yuval Sharon’s 2018 production at Bayreuth. The following day, they endured a 7 1/2-hour final dress rehearsal in the venue designed according to Wagner’s blueprints.
Beczała journeyed to Munich on July 14 to perform in a recital four days later at the 150th Munich Opera Festival, followed by “Lohengrin” under Kornél Mundruczó’s 2022 interpretation on July 27 and 30. He returned to Bayreuth the next morning for a 3 p.m. rehearsal with Thielemann, who conducted Beczała’s initial Lohengrin performance in 2016.
There were three more performances at Bayreuth through Aug. 9.
“Having portrayed Lohengrin in various productions, he possesses an experienced interpretation that seamlessly adapts to differing directorial perspectives,” remarked Bavarian State Opera general director Serge Dorny. “His thorough preparation for both renditions was evident, and we were confident he would execute each performance with absolute professionalism and concentration.”
Lohengrin, a mysterious knight, arrives to unite the divided people of Brabant and defend the noblewoman Elsa from the false accusation she murdered her brother. He agrees to marry her on the condition she never ask him his name or origin.
A veteran of seven productions
Beczała also has sung Lohengrin in Dresden, Vienna, New York, Paris and Zurich.
Mundruczó and Sharon, like many contemporary directors, abandoned Wagner’s 1850 stage directions that have Lohengrin arrive and depart on a boat pulled by a swan.
“He is not necessarily coming as a God-sent person,” Mundruczó said. “It’s more like someone who we are choosing, so somehow it’s one of us.”
Monika Pormale designed stark white sets for Munich that included hilly, grassy areas in the first act. Beczała nearly slipped but caught his balance in time.
Anna Axer Fijalkowska costumed Lohengrin in cream as a common man rather than medieval finery: jeans, sweatshirt and loafers.
“I go, to be honest, on airplanes more elegant than that,” Beczała said, laughing.
Anna Brunnlechner, the revival stage director, didn’t mind the compressed practice period.
“I prefer a very intense time, also with a bit of adrenaline, than a very long rehearsal time where you can talk every detail,” she said.
Bayreuth’s sets and costumes were by the married artists Neo Rauch and Rosa Loy, dominated by the color Delft Blue — even Beczała’s wig. Their Lohengrin is dressed like a 1930s electrician wearing a shirt and tie with overalls, arriving in a transformer and clutching a lightning bolt for a sword.
Sharon, in an email to assistant director Eva-Maria Abelein he shared with the AP, called the opera “the story of the decay of the angel.”
“Lohengrin is a bringer of light, and he is humble at first — he is a servant of a higher force,” he wrote. “But the idea of a year of bodily pleasure, joy, love, four seasons … He can’t resist it. And the character we see in Act II is arrogant, full of himself, and much closer to violence. In Act III, he is brutal with his new wife — because that’s what he thinks humans do.”
Beczała took over for the 2018 production premiere when Roberto Alagna withdrew 27 days before the first performance.
“Piotr is really exceptional,” Abelein said Saturday. “He took one wrong position last night and then he came off saying, ‘I’m so sorry about this.’ I said, ‘Piotr, it’s not important at all because the way he acted is important.’”
Surprise liquid refreshment
Wolfgang Schilly, another Bayreuth assistant director, provided Beczała some special assistance for this year’s opener. Beczała was thinking about “In fernem land (In a distant land),” the third-act aria when Lohengrin reveals his name to Elsa.
“I could give a thousand dollars for just a little water before the aria but there’s no space,” Beczała recalled telling him Thursday.
Schilly had a tiny hole punctured in the set wall between where oversized insect wings were pinned, then inserted a straw attached to a bottle. An appreciative Beczała was able to sip.
“I’m not so sure that Neo Rauch is happy that we make a hole in his art,” Beczała said, smiling.
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