* Notes *
Yesterday’s matinée performance of Lohengrin opened at Los Angeles Opera was the second of six. The new production, designed by Dirk Hofacker and directed by Lydia Steier, is exceedingly silly. The set is on a turntable and appears to be set amidst German ruins in a Prussian army camp. One especially enjoyed the fact that the swan that brings Lohengrin is a bed covered tent (pictured left with Soile Isokoski and Ben Heppner, photograph by Robert Millard). The choreography was not well-motivated and perhaps merely served the set, which was rotated at various points. At times it seemed that people rushed aimlessly around the stage and ended up at their marks too early.
Maestro Conlon kept the music going at a good pace. For the most part the woodwinds sounded pretty. The brass make a few mistakes, especially in Act II, but managed to be effective. The chorus was lovely, though again, as with Rigoletto, there were a few times when synchronization was a problem. “Treulich geführt” came off beautifully, sounding clear and together.
There were many familiar faces in the cast. Robert MacNeil and Greg Fedderly were the First and Second Noblemen, while Domingo-Thornton Young Artists Matthew Anchel and Museop Kim were the Third and Fourth. Baritone Eike Wilm Schulte was the Herald. All sang nicely.
Most of the principal singers were impressive. Dolora Zajick made for the perfect Ortrud, she sang with strength, richness, and with appropriate haughtiness. James Johnson played a tormented Friedrich von Telramund, his voice too is robust. Kristinn Sigmundsson sounded noble as King Heinrich.
Soile Isokoski gleamed as Elsa, and sounded particularly sublime in “Einsam in trüben Tage.” Some of her lower notes in Act II were not as lucid as her high ones. In the title role, Ben Heppner struggled. From the start the production did not make him seem heroic. When he emerged from the tent he hardly cut a fine figure, as his coat was unbuttoned, which was not a flattering look. If Heppner was in good voice, this would not have mattered, but unfortunately this was not the case. He had a few good moments, his voice has a warmth to it, and volume. However, he wailed his way up to high notes that were strained and rough. It was painful to hear him hail Elsa in Act II and he even cracked badly in the last act.
* Tattling *
Nearly every type of unpleasant behavior was on display from the audience members in Balcony B. The couple in K 40 and 41 talked nearly every time a soloist was not singing, so even during the famous Bridal March. The woman in L 37 unwrapped cough drops and incessantly scratched herself during Act I, but had the good sense to leave, as she clearly was not feeling well. Someone in Row M tapped her stiletto heels against the concrete floor distractedly, while someone else in Row L quietly sang along. A mobile phone rang during Act II, but it was on so low that he or she did not even hear it, and did not turn it off. There was periodic beeping, perhaps from a recording device. Flash photographs were taken during the ovation. The worst offender was a person at the back of the house with a very loud phone, which rang at the end of the opera on four separate occasions.
The Opera Tattler 
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