David Alden’s staging at the Munich Festival of 1995 caused a furore, and one can all too easily see why. His typical deconstruction of Wagner’s problematical opera only serves to draw attention to his own egotistical ideas rather than making an attempt to interpret the work in a manner faithful to the original. Besides its unwarranted tampering as regards the motivations of the principals and its use of symbols that only confuse the viewer – too tedious to describe in detail – it looks unremittingly ugly. To prove that a modern interpretation adhering to Wagner’s own concept can stimulate eye and ear you need only turn to Gotz Friedrich’s ground-breaking production at Bayreuth conducted by Colin Davis in 1978 (Philips). I was there in 1977 when the staging was new and was thrilled by the imagination shown on all sides. The difference between the two directors is that Friedrich’s ideas and their execution are entirely consistent and convincing, and his cast obviously believes in what he was attempting. Musically Mehta’s lacklustre, sluggish reading (the last thing one wants in this sprawling, overlong score is slow tempos) pales into insignificance beside Davis’s inspired, consistent interpretation.
When it come to the singers the advantages are for the most part also with the older version. On the new version, only Rootering as the Landgrave has true stature of voice and presence – a real Wagner bass. Kollo’s woefully wobbly singing (a sad decline from his recording with Solti many years earlier – Decca, 2/86) and his over-the-top acting – he also looks too old for the role – are no match for the superbly concentrated and intense performance of Davis’s Spas Wenkoff. Secunde offers a sincere, deeply felt Elisabeth, Meier a seductive Venus, but Gwyneth Jones in one of her greatest achievements doubles the roles for Davis in incomparable fashion. The young Weikl was an ideally youthful, warm Wolfram in 1978; by 1995 he seems to have lost interest in the part and sings off-key far too much of the time. Good as the Bavarian State Chorus may be, they are eclipsed by the shattering account of their important music by the Bayreuth counterparts of the day. I do urge Universal to consider re-mastering this outstanding document.
When it comes to picture and sound there is no contest: the new version wins hands down of course, but I am sure the older set could be refurbished by loving hands. By chance we also have the 1990 Bayreuth performance (Philips), a dullish, conventional staging by Wolfgang Wagner enlivened by Cheryl Studer’s beautifully sung Elisabeth, but what it reveals is that a good VHS (admittedly played on my new, hi-tech player), offers just about as excellent picture and sound as the DVD, a thought to ponder