• Budapest Wagner Days

Wagner: Tannhäuser

classical music, opera, theatre

Béla Bartók National Concert Hall
  • Produced by Müpa Budapest

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The chief sustaining element of Wagner's operas is tension. This is the electric field created in each of his works, attracting those who are receptive to it like a magnet. Tension - clashing with principles, as high-level art tends to do - was already present in the early "German Romantic operas”, including Tannhäuser.

It never hurts to repeat the truism that, in his stories taking place in the medieval period or in some undefined mythical age, Wagner was never actually speaking about the people of past centuries, or of the gods, giants and dwarfs of legend. Instead, he was reflecting, and addressing, his own era. The chivalric tale of Tannhäuser - featuring a singing contest at Wartburg Castle, Venus's cavern and a pilgrimage to Rome - was all about the beliefs and morals of the rapidly evolving bourgeois era of the 19th century. The opera addresses the battle between the conflicting ideas of extreme sensuality and extreme asceticism. In other words, Tannhäuser is about the 19th century, which spawned, along with a triumphant bourgeoisie busy building the capitalist system, a great deal of hypocrisy. Wagner himself is extreme, contrasting the "cesspool of pleasure” with "holy purification” - for him there exists no synthesis or middle ground. Although the productivity-minded thinking of the bourgeoisie - as we see it today - always aimed for a solid balance, Wagner was an artist: his wish was not to praise this new commercial class, but to denounce it.
Matthias Oldag's acclaimed production, on the other hand, strikes a constructive balance between ideas about stage directing sprung from both modernist and traditional aesthetics, enabling it to address both those seeking novelty and others more comfortable with tradition. Gábor Bretz has been a celebrated soloist at La Scala in Milan, the Sydney Opera House and the Salzburg Festival. The favourite role of Stephen Gould is Tannhäuser, while Markus Eiche has sung Wolfram from Tannhäuser, Donner from Das Rheingold and Gunther from Götterdämmerung at the Bayreuth Festival. The German Jürgen Linn lists all the major Wagnerian baritone roles on his repertoire. Tünde Szabóki, a perennial performer at the Budapest Wagner Days, is just as at home on the stages of Austria and Germany. Meanwhile, Sophie Koch began her career in Mozartian and Richard Strauss roles, expanding her repertoire with major Wagnerian heroines.

More information about the Budapest Wagner Days here.

Presented by: Müpa Budapest

Parking information

The Müpa Budapest underground garage gates will be operated by an automatic number plate recognition system. Parking is free of charge for visitors with tickets to any of our paid performances on that given day. The detailed parking policy of Müpa Budapest is available here.

Safe ticket purchase

Dear Visitors, please note that only tickets purchased from the Müpa website and official ticket offices are guaranteed to be valid. To avoid possible inconvenience, we suggest buying tickets to our performances and concerts via the mupa.hu website, the Interticket national network (jegy.hu) or at our official ticket offices.

Sections

  • Adam Fischer
  • Hermann
    Gábor Bretz
  • Tannhäuser
    Stephen Gould
  • Wolfram von Eschenbach
    Markus Eiche
  • Walter von der Vogelweide
    Tibor Szappanos
  • Biterolf
    Jürgen Linn
  • Reinmar
    Ferenc Cserhalmi
  • Heinrich
    Tivadar Kiss
  • Elisabeth
    Tünde Szabóki
  • Venus
    Sophie Koch
  • A shepherd
    Dominik Jobbágy, Kornél Kristofics
  • Hungarian Radio Symphony Orchestra and Choir (choirmaster: Zoltán Pad)
  • Honvéd Male Choir and Budapest Studio Choir (choir director: Kálmán Strausz)
  • set design, costumes
    Thomas Gruber
  • revival director
    Sylvie Gábor
  • director
    Matthias Oldag



Related season ticket

With discount

Ugrás az oldal tetejére