, May 2007
Klaus Florian Vogt was born to perform the title role. He sings with an assured lyrical impulse and his voice exhibits a purity ideal for the otherworldly knight, while it still is firm, strong, and focused. Vogt’s instrument is surely just what Wagner had in mind when supported by the famous high string harmonies as Lohengrin reveals his origins at the work’s conclusion. Solveig Kringelborn’s soprano also possesses a youthful innocence but has texture and color as well—and does she ever look the part of Elsa with her creamy complexion and piercing bright blue eyes! Kringelborn’s passionate plea for Lohengrin to disclose his secret is stirring: all of act III, scene 2 is a rising crescendo culminating in Telramund’s surprise attack at the exact moment Elsa pops the question.
As the tale’s evil pair, Waltraud Meier (Kundry in the Lehnhart/Nagano Parsifal) and Tom Fox (who sang Klingsor) are just about perfect. Telramund’s sense of humiliation following his act I public defeat is palpable—you almost feel sorry for him and shift all the villainous intent to Meier’s sexy, ruthless Ortrud. What a master of “spin” she is!
Hans-Peter König’s Heinrich is sturdily sung: he’s a commanding and perceptive monarch who knows exactly what Telramund and Ortrud are up to. The chorus, comprised of singers from the EuropaChor Akademie Mainz and Nagano’s Opéra National de Lyon, perform with precision, power, and excellent blend. The orchestra’s also outstanding, with especially robust brass-playing. Nagano contributes considerably to the dramatic effectiveness and continuity of the performance… © 2007 Fanfare Read complete review