This settles it for now. Wagner's Tannhäuser, the first new production ordered by SF Opera general director David Gockley, opened last night, initially making us a bit nervous. Why? Well, Gockley had announced the end of the fedora, and the return of glamorous period productions. Since last year’s most compelling production was Iphigenie en Tauride, a timeless rendition in a naked black cell, we fretted: is this season going to be the return of kitsch?

We were wrong. Thank God. And the allusion to fedoras was not a dig at the previous general director (even though she indulged in them) but to last year’s LA opera production of the same Tannhäuser, also with Peter Seiffert and Petra Maria Schnitzer. You can check out that one here, but we like ours better, thanks.

This show blew us away, on all counts. Stage production, singing, orchestra were all magnificent. The set was (like in Iphigenie) bare-bone and claustrophobic. The set resembled a post-nuclear war subway station so much so that we expected Tannhäuser to return to earth from Venus' underground lair via an elevator. (He did not; instead a child alter-ego goes through a vagina-shaped tree contraption to symbolize his re-birth.)

Stage director Graham Vick uses the most out of the terse backdrop: it remains the same for all three acts, all four hours of the performance, and we never tired of it.

Link to OutWestArts by way of Sid, we believe. Pictures courtesy of SF Opera/Terrence McCarthy, above the chorus and Peter Seiffert, below Peter Seiffert, Petra Lang, Petra Maria Schnitzer respectively.

The curtain opens with a ballet that reminded us too of Iphigenie's choregraphy -- spectular, yet grating and abrasive. We liked it, but this, as they say, is not your momma’s nutcracker. The nymphs of Venus look like a squad of demented cheerleaders, and the opening bacchanale, while much more explicit, turned us much less on than that of Samson & Dalila. Of course, this serves a purpose: it is so raw because it lacks a spiritual dimension, which is why Tannhäuser wants to leave.

The anger of Venus involves fire, as we know from the song and the setting includes a fierce ring of fire, which might have you looking for the nearest emergency exit. (And it’s real gas flame, so you might want to buy some offsets to keep your attendance carbon neutral.) Other neat tricks involve a real white horse named Alloy (no need for pooper scoopers, thank goodness), nymphs disappearing into the grounds, and kids flowering up in the other direction, when redemption wins at the end, in a visually and emotionally arresting moment. Pretty cool.

Tannhäuser, sung by Peter Seiffert, requires superlative adjectives. It was his SF Opera debut, and please, bring him back already. He was convincing, full of lust, full of joy, full of despair, cocky and humble, a sinner, and a penitent. While his voice tone would switch according to the mood, it would always stay clear, bright and melodious. Tannhäuser is centered around a singing competition, and we raise our report card to a perfect 10. Bbut all of the singers gave a committed, very intense performances. A good director does miracles, and it seems like Graham Vick earned his money. (Bring him back, too!)

Tannhäuser sins with Venus and repents with Elizabeth, and we’re like him: we have a hard time choosing whom we like the best. Venus, is Petra Lang, and she’s got it. Yeah, baby, she’s got it. She’s our Venus, she’s our fire, at our desire. Rolling on the stage floor in her white toga, flashing her bare legs and shoulders, openly sexual, and sounding good at the same time. A quibble: she could have traded off a bit of volume for a bit more sultriness, she would have been even more of a temptress.

Petra Maria Schnitzer is Elizabeth, and she is purity incarnate: dressed at first in a Virgin Mary blue dress (the other blue dress) she displays an ethereal voice. She too makes her SF debut, and bring her back too! We believe in her innocence as she runs around full of joy in her entrance, we believe in her distress later. James Rutherford as Wolfram sings a splendid “Oh! Evening star” aria, and Eric Halfvarson camps a authoritative Landgraf Herman with a deep, bottomless bass voice.

Conductor Donald Runnicles’ mastery of Wagner is once more demonstrated. The man knows his way through the score, getting a textured interpretation from the orchestra, from the majestic overture with the softest brass through the climactic moments of Act III.

And we would be remiss if we did not salute the convincing performance of friend of SFist SFMike as a supernumerary wolf hunter. His insider's view is here. If we feel the need to go coyote hunting in Bernal with only a kitchen knife, we’ll call you first!

Tannäuser
War Memorial Opera House
Box office: 864-3330
Remaining performances:
Sun. September 23, 1 pm, Wed. September 26, 7 pm, Sat. September 29, 7 pm, Wed. October 3, 7 pm, Sun. October 7, 1 pm, Fri. October 12, 7 pm