In 2015, the theatrical world of Russia was shaken by the scandal associated with the opera Tannhäuser, which was staged in the Novosibirsk theater. He led to several high-profile personnel decisions at this cultural institution.

The plot of "Tannhäuser"

It is enough to look at the plot of the opera to understand the essence of the scandal. Tannhäuser is far from a new work. The opera was written by Richard Wagner in 1845. It touches on many religious topics. According to the plot main character Tannhäuser experiences the Fall with the ancient goddess Venus. The opera also features the image of Jesus Christ and the Christian god.

For the 19th century, this was a very free production, which many religious dogmatists might not like. However, Germany is a Protestant country where the principles of freedom of conscience and religion have long existed. The opera, like many other works of Wagner, has become a classic of the world theater.

Criticism of the ROC

It is necessary to understand the confrontation between the Ministry of Culture and the theater staff in order to understand what the essence of the scandal is. "Tannhäuser" was criticized by the Russian Orthodox Church. A public dispute arose after Tikhon (Metropolitan of Novosibirsk and Berdsk) complained about the opera. At the same time, the church leader himself did not see the performance, but referred to the indignation of some Orthodox spectators of the local theater.

The Metropolitan publicly criticized Tannhäuser several times. In particular, he demanded that he be removed from the theatre's repertoire. In addition, Tikhon called on the Orthodox residents of Novosibirsk to go to a rally (standing in prayer) against “blasphemy against Jesus Christ,” etc.

Administrative case against Kulyabin

For the first time the opera house showed the production of "Tannhäuser" in December 2014. Its author was Timofey Kulyabin. He publicly defended his brainchild in every possible way from criticism of the Russian Orthodox Church, primarily appealing to the fact that there is freedom of speech in the country.

It is also necessary to pay attention to those proceedings in court that began in connection with this story in order to understand what the essence of the scandal is. "Tannhäuser" led to the fact that the prosecutor's office of the Novosibirsk region opened an administrative case against Kulyabin. He was accused of another defendant in this process was Boris Mezdrich, director of the Opera and Ballet Theatre. The case was opened in February 2015, and it was then that the scandal first reached the federal level. The leading media drew attention to the incident, after which the whole country became aware of this story.

The position of the theater community

When it became known about the court case against Mezdrich and Kulyabin, they were supported by almost all the famous theatrical figures in the country. This was rare example guild solidarity among numerous actors and directors. The performance was supported by: Mark Zakharov, Oleg Tabakov, Valery Fokin, Kirill Serebryannikov, Evgeny Mironov, Chulpan Khamatova, Oleg Menshikov, Irina Prokhorova, and others. At the same time, theater critics in their reviews spoke positively about artistic features opera Tannhäuser. Novosibirsk turned into the epicenter of the country's cultural news for several months.

A few weeks later, the court closed the proceedings against Mezdrich and Kulyabin. But the flywheel has already been spun. After the failure with the Prosecutor General's Office, supporters of the Russian Orthodox Church began to complain to the Investigative Committee, the FSB and others government bodies. This agenda was intercepted by the Ministry of Culture. It became Tannhäuser's main opponent.

On March 29, 2015, the Russian Minister of Culture fired Boris Mezdrich, director of the Novosibirsk theater. The reason was that the latter consistently defended the opera and did not remove it from the repertoire despite criticism from the church and its supporters.

The ministry demanded from Mezdrich, if not to remove the performance, then at least to make plot changes to it, which the activists demanded. The director was also ordered to cut funding for the production. He refused to do all this, after which he was fired. So the scandalous opera "Tannhäuser" led to even greater conflict in society.

Dismissal of Mezdrich

He was appointed to the place of the dismissed Mezdrich. Before that, he also directed the St. Petersburg Mikhailovsky Theater. However, much more Kekhman was known as a businessman. In the 90s, he created the largest fruit import company on the Russian market, for which he was nicknamed the “banana king”. Because of his previous activities, not related to the theater, many cultural figures have criticized the personnel decision of Minister Vladimir Medinsky.

The colorful Kekhman was declared bankrupt in 2012. Prior to his appointment as theater director, he publicly called for Tannhäuser to be banned. Opera, in his opinion, offended the feelings of believers and was blasphemy. On March 31, 2015, Vladimir Kekhman, who had just become the director of the theater, removed the performance from the repertoire. It is curious that Vladimir Medinsky did not support this decision, saying that the opera needed only adjustments.

censorship controversy

The confrontation between the director Kulyabin and the Ministry of Culture is what the essence of the scandal is (Far from everyone considers Tannhäuser to be a scandalous production). This conflict has led to a heated debate about whether there is censorship in state theaters. Minister Medinsky denied such a wording and referred to Russian legislation.

In addition to the fact that the Tannhäuser story led to criticism of the Ministry of Culture, in a society with new force a dispute broke out over legislation affecting religious matters. According to the Constitution, Russia is a secular state. This means that any church and religious organization is separated from the authorities. The principle of freedom of religion is also enshrined in Russia. All these legal norms became the main arguments for the defense of director Kulyabin and director Mezdrich in court.

Theater reconstruction

Opponents and supporters of "Tannhäuser" in different time organized several actions to publicly demonstrate their position. The “prayer stand” against the production of the opera brought together hundreds of Orthodox activists who demanded that Kulyabin be left without a job.

Interestingly, after the scandal, the Novosibirsk Opera House was temporarily closed for reconstruction. The new director, Vladimir Kekhman, announced this a week after he was appointed to his position. Therefore, already in April, all productions of performances were stopped in the theater.

The management of the institution attributed the closure to economic reasons. The renovation of the auditorium, dressing rooms, foyer and rehearsal classrooms has begun in the building. It was then that interest in the scandal that caused the play "Tannhäuser" began to subside. The opera no longer appeared on the Novosibirsk stage.

Public response

It should be noted that even before the appointment of Kekhman, the Ministry of Culture organized a public discussion of the sensational Novosibirsk production. Directors, theater critics and representatives of the church gathered within the walls of this institution. They tried to discuss the opera Tannhauser, the libretto of which was written by Wagner, but the dialogue did not work out.

Supporters of the production referred to the document “Fundamentals of Cultural Policy” adopted in the Kremlin, which briefly described the actions of the state in the field of culture. It underlined passages concerning the creation of all necessary conditions to realize the creative potential of any citizen. This principle was completely at odds with the position taken by church hierarchs who criticized the opera.

Also, theater critics noted that the performance is a recognized international classic of the genre. This opera is staged at the best venues in the world. It should also be evaluated taking into account the fact that it was written by a person who lived in the 19th century - Richard Wagner. "Tannhäuser" eloquently conveys the vision of the world that was popular in that era. Anyway, but religious figures and their opponents failed to agree. To date, the Tannhäuser case remains the most high-profile of its kind.

The most famous operas in the world. Original title, author and short description.

Tannhauser, R. Wagner

Opera in three acts; libretto by the author based on the 13th century saga.
First production: Dresden, October 19, 1845.

Characters:
Hermann, Landgrave of Thuringia (bass), Tannhäuser (tenor), Wolfram von Eschenbach (baritone), Walter von der Vogelweide (tenor), Biterolf (bass), Elisabeth, Landgrave's niece (soprano), Venus (soprano), The Young Shepherd (soprano) ). Knights, earls, ladies, pages, pilgrims, sirens and nymphs.

The action takes place in Thuringia and the Wartburg in the 13th century.

Action one. Picture one.

Inside the "Venus Cave", near Eisenach. Venus is reclining on a luxurious couch, and in front of her, the singer Tannhäuser is kneeling with his head bowed to her chest. Nymphs and Bacchantes circle around them in a passionate dance. The chorus of sirens on the shore of the lake sings the delights of love, the bliss of sweet hugs and burning kisses. Gradually the fog shrouds the mountain, the frantic dance of the Bacchantes subsides, and the groups of dancers in sweet exhaustion settle down at a distance and are lost in thick clouds. Tannhäuser and Venus are left alone. Tannhäuser, as it were, awakens from a dream and tells Venus about his dreams: he seemed to hear the ringing of bells in his homeland, which he had not heard for so long.

These sounds again awakened in him a longing for his dear homeland and an irresistible desire to go home to see again, after many years of separation, his native earth, heaven and stars. Venus asks him with a sad reproach, is he really fed up with his bliss, and her love no longer pleases him. She persuades him to forget about everything earthly and surrender to one tender passion and asks him to sing to her one of those songs for which she fell in love with him so deeply. Tannhäuser impulsively takes the harp and sings about the divine beauty of Venus, about his passionate love for her, which gave him so many blissful minutes. In conclusion, he asks the goddess to let him go home, saying that memories are calling him to his homeland and he longs to experience earthly suffering again. Venus is distressed by his song. She calls him an ungrateful traitor and declares that she will not let him go.

Tannhäuser objects that he blesses the love with which she made him happy, but he is no longer able to remain, he longs for freedom, free activity and struggle. Venus, in a strong excitement, tells him that he is free, she does not hold him, and he can go back to cold, callous people, but that he will not find salvation there and with a tormented soul, deceived in his proud hopes, will again return to her. Tannhäuser says goodbye to her and, leaving, says that he will never return to her again. Venus curses him and the whole human race. She tries once again to keep him, predicting that people will refuse to forgive him. But Tannhäuser remains adamant. The magical grotto disappears.

Picture two.
A valley surrounded by forest near the Wartburg. To the side of the chapel. The shepherd sits on a cliff with a flute in his hands and sings a song about spring. Tannhäuser enters and looks around. A group of pilgrims approaching the chapel, singing prayers. Tannhäuser, shocked and touched, kneels down and prays in front of the chapel. The pilgrims leave, and Tannhäuser still remains immersed in prayer and repentance. The sounds of hunting horns are heard, and soon the Thuringian Landraff Hermann appears with his retinue, returning from hunting; one of the retinue, Wolfram von Eschenbach, to his surprise recognizes in the praying knight the singer Tannhäuser, his friend, who has long been missing.

In response to Wolfram's questions, Tannhäuser says that he wandered for a long time in foreign lands, but did not find peace anywhere. Wolfram and the other knights ask him to stay with them and rekindle their friendship. Tannhäuser rejects the offer, for he does not hope to find consolation among them. Wolfram reminds him of his beloved Elizabeth; this name evokes an enthusiastic feeling of joy in Tannhäuser. Wolfram informs Tannhauser that since he left them, Elizabeth cannot forget him and his songs and does not listen to the songs of other knights. Tannhauser joyfully embraces everyone and, for the sake of Elizabeth, agrees to stay with them and forget all previous strife. The Landgrave and the knights take the newly returned friend to the Wartburg, where Tannhäuser promises to take part in the upcoming singing competition.

Action two.
Hall for singing competitions in the Wartburg. The landgrave's niece Elizabeth enters in a joyful mood about the fact that singing competitions will begin again in this hall, and she will hear the songs of the one who is so dear to her, whom she listened to in delightful delight. Wolfram and Tannhäuser appear. Wolfram stops at the back of the hall. Tannhäuser approaches Elisabeth and kneels in admiration before her. Elizabeth shyly but joyfully expresses her gratitude to him for returning to them, and asks him where he was and how he found himself here again. Tannhäuser repeats what he said to the knights, and adds that a miracle led him to meet her again after he had already lost all hope of returning. Elizabeth admits that joy and peace have disappeared for her since he left them, and that in a dream and in reality she dreamed only of him alone. Her confession fills Tannhäuser's soul with happiness and plunges Wolfram into deep sadness, who voluntarily renounces all claims to his beloved Elizabeth.

Tannhäuser and Wolfram are removed. Landgrave enters. Seeing his niece joyful and cheerful, he guesses what she is going through and who is responsible for this change. Guests gather in the hall, counts, knights with ladies, take their seats on the stage near the canopy, under which the landgrave and Elizabeth sit down. The singers take their seats on the opposite side. The landgrave asks them a theme - to sing the essence of love. Whoever exhausts it more deeply will be rewarded by Elizabeth herself; the winner will not be refused, no matter what he asks. By lot, Wolfram is the first to start the competition. He understands the essence of love in renunciation and suffering in the name of the ideal, and in his improvisation compares love with that sublime and imperturbable feeling that he secretly harbors for one star, shining for him from heaven as a source of delight and rapture.

Knights and ladies reward the singer with praise. Tannhäuser quickly rises from his seat and in his song objects to Wolfram. In his opinion, love lies in pleasure and passion in the name of nature. Tannhäuser is forever burning with passion, and forever he will quench it. Elisabeth expresses her approval to Tannhäuser with a gesture of her hand, while everyone else is silent in embarrassment. The knight Walter answers Tannhäuser that the source of love is holy virtue, and whoever approaches it with sinful passion defiles it; it should satisfy not the body, but the soul. The knights and ladies noisily approve of the singer. Tannhäuser vehemently objects to him, saying that Walther's love is miserable, with reverent calmness one can sing only what is far from us - the wonders of creation, heaven and stars, incomprehensible to people; love, on the other hand, is connected with pleasure, and by this it acts on our senses.

The singer Biterolf intervenes in the dispute, who declares that for the sublime love and honor of a woman, he would not hesitate to enter into a mortal battle, and for the pleasures defended by Tannhäuser, he would not even draw a sword from its scabbard. Those present join Biterolf's opinion in expressing their disapproval of Tannhäuser. Tannhäuser calls his adversary a braggart and says in response that he would also not draw his sword for what Biterolf calls true love. The knights indignantly demand that Tannhäuser be silent. Biterolf rushes towards him with a sword. Landrhaf holds him back. Wolfram tries to stop the quarrel. But Tannhäuser, having given free rein to his feeling, enthusiastically sings a hymn to the goddess of love and beauty and invites those who wish to taste the essence of love in the grotto of the divine Venus.

The confession that escaped from the lips of Tannhäuser strikes the pious listeners with horror. Everyone jumps up from their seats, the ladies step back from him in fearful disgust. The landgrave and the knights furiously curse the wicked, ready to strike him with their swords. Elizabeth throws herself between them with a piercing cry. Everyone stops, amazed at her defense. Elisabeth, in agitation, says that Tannhäuser is involved in a terrible sin by passion, but can repent; will the knights take away his way to salvation? She invites them to take an example from her: Tannhäuser's confession broke her love, meanwhile she forgives him and, through her intercession, wants to return him to pure faith again.

Elizabeth's words make a strong impression on those present. The knights agree with her proposal to give Tannhäuser time to repent. Landgraf allows Tannhauser to go to Rome to beg the pope for forgiveness, warning him that if he does not receive forgiveness, then he does not dare to return to the Wartburg. Elizabeth prays to God for the success of Tannhäuser in Rome. Tannhauser, in the name of love for Elizabeth, agrees to make a pilgrimage to the eternal city. In the distance you can hear the singing of the pilgrims on their way to Rome. Tannhäuser hurries to join them.

Action three.
Valley in front of the Wartburg. Late fall. Elizabeth, exhausted from longing for Tannhäuser, prays at the cross. Wolfram descends from the mountain and, noticing Elizabeth, stops. He guesses that she is praying for Tannhäuser. She is waiting here to see him among the pilgrims returning from Rome, often passing through this valley. Wolfram wishes her that God would hear her prayers and give her comfort. The singing of pilgrims is heard from afar. The pilgrims pass not far from Elizabeth, but in vain she looks among them with the eyes of Tannhäuser, he is not there. In deep sadness, she turns to God with a prayer to take her to heaven as soon as possible, so that there, in front of his throne, beg forgiveness for the sins of Tannhäuser. After praying, Elizabeth quietly leaves. Dreamy Wolfram follows her with his eyes, full of love, then, looking at the star that lit up in the sky, he inspiredly compares his love for Elizabeth with love for the evening star, inaccessible to mortals.

At this time, Tannhäuser appears in a pilgrim's rags with a staff in his hands, exhausted and tired. Tannhauser tells Wolfram about his journey, painfully re-experiencing everything that happened to him. Having gone to Rome at the behest of Elizabeth, he was inspired by only one desire - to repent for her sake. He endured many hardships on the way, and he voluntarily inflicted even more suffering on himself, in order to rather earn forgiveness: he buried himself in the snow, tormented his body, walking barefoot on sharp stones. Finally he came to Rome. With fervent hope he hastened to see the Pope. Thousands of people were made happy by the forgiveness proclaimed to them by the pope; when Tannhäuser, prostrated before him, confessed his crime and prayed with burning repentance for the remission of his sins, the pope would answer him with a furious curse, saying that, just as his rod would never make escapes, so too Tannhäuser, doomed to eternal torment of hell will never reach salvation.

Tannhäuser was struck by a curse like thunder, and he lost his senses. When he woke up in the square, alone, and heard the solemn hymn of the forgiven pilgrims coming from afar, his heart overflowed with hatred, and with a feeling of terrible anger, he decided to go again to the shelter of Venus, the path to which he is now looking for, in order to forget his mental anguish and anxiety. Wolfram persuades him to come to his senses. But Tannhäuser does not listen to him and calls out to the goddess. At this moment, a pink glow illuminates the area before them; images of nymphs whirling in a dance rise in a thinning fog; among them is shown, resting on a luxurious bed, Venus. With a bewitching voice, she calls her favorite Tannhäuser to her, forgiving him his betrayal and promising him again divine pleasures. Wolfram tries to stop Tannhäuser.

He puts all the power of love into his prayer, but, seeing that he cannot tear Tannhäuser away from the vision that enchanted him, he decides to remind him of Elizabeth, saying that this holy woman prays for him every day and with her prayer can save him. The reminder of Elizabeth strikes Tannhäuser like thunder again. He suddenly stops, amazed by the funeral singing of the approaching choir. Venus with the exclamation “Oh woe, woe is me! He is lost to me!" disappears along with all his nymphs. The same valley opens again, and the funeral procession accompanying open coffin, slowly approaching the knights. In the coffin lies the suddenly deceased Elizabeth. Tannhäuser, supported by Wolfram, approaches the coffin and says: “Oh, pray, holy one, for me!” falls dead to the ground. Pass several wanderers returning from Rome. They sing praises to God for the revealed miracle: the papal staff gave fresh green sprouts, which means that the sinner is forgiven.

HISTORY OF CREATION

In the libretto of Tannhäuser, Wagner skillfully combined three different legends. The hero of the play is a historical figure, a minnesinger knight who lived in Germany, probably between 1220-1270. He traveled a lot, took part in the internecine struggle of the German princes against the pope, sang love, wine, women, and bitterly repented of his sins (the music of his "Song of Repentance" has been preserved). After his death, Tannhäuser became the hero of a folk song that was widely used in Germany in several versions. One of them is included by A. Arnim and C. Brentano in the popular collection "The Miraculous Boy's Horn", the other - in an ironic form, with the introduction of modern motifs - was processed by G. Heine; Tannhäuser is also the hero of the short story by L. Tieck, known to Wagner from his youth. This is a beautiful legend about a penitent knight who spent a whole year in the realm of the pagan goddess of love Venus, and about a hard-hearted Roman pope, in whose hands a dry staff blossomed.

With the legend of "Mountain of Venus" (as Wagner originally called his opera), the composer combined the legend of the competition of singers in the Wartburg, near Eisenach - in the castle of the Landgrave of Thuringia, a passionate lover of poetry and patron of the minnesingers. This legend was also very popular in Germany; E. T. A. Hoffmann dedicated one of his fantastic short stories to him. Wagner made Tannhäuser the protagonist of a singing competition (although this tournament, according to legend, took place more than ten years before his birth).

As a rival to Tannhäuser, the composer showed in his opera Wolfram von Eschenbach, one of the greatest German poets of the Middle Ages (1170-1220), the author of a poem about Lohengrin, his father Parsifal, which Wagner later partially used in his two operas.

The third legend used in Tannhäuser served as a source for the image of the heroine - Elizabeth, whom Wagner made the niece of the Landgrave of Thuringia. This is also a historical character: a Hungarian princess, she was destined as a wife to the son of a landgrave, a rude and cruel warrior, who later died on a crusade. Elizabeth meekly endured the oppression of her husband, and then her mother-in-law, and after her death she was declared a Catholic saint.

The idea of ​​an opera based on the plot of Tannhäuser was conceived by Wagner during his stay in Paris, in the autumn of 1841, the final plan was formed upon his return to his homeland, in June - July next year; at the same time, the first musical sketches appeared. The opera was completed in the spring of 1845. In the same year, on October 19, the premiere took place in Dresden under the direction of Wagner. The opera was a great success, but despite this, the composer reworked the finale twice over the course of two years. The new version (1860-1861) was made for a production at the Paris Opera House (the first act was expanded, where two ballet pantomimes on the themes of ancient myths were introduced, the duet of Tannhäuser and Venus was changed, including the main aria of the heroine). The new premiere, which took place on March 13, 1861, was marked by an unheard-of scandal; the Parisian edition of Tannhäuser did not gain a foothold in theatrical practice.

MUSIC

Tannhäuser is a typically romantic opera with its characteristic opposition of fantasy and reality, solemn processions, dance scenes, extensive choirs and ensembles. abundance actors gives the opera pomp and monumentality. great place are occupied by colorful sketches of nature and everyday life, which form the picturesque background of the lyrical drama.

In a grand overture two worlds are musically opposed, fighting for the soul of Tannhäuser - the world of severe moral duty, personified by the restrained and stately themes of the pilgrim choir, and the world of sensual pleasures, conveyed by the impetuous, alluring motives of the Venusian kingdom.

On the contrast of fantastic and everyday scenes is built first act. The bacchanalia is imbued with lingering anxiety, violent merriment; the chorus of sirens sounds mesmerizing offstage. In the center of the picture is a large duet of Tannhäuser and Venus, exposing the clash of two characters; three times, more and more elevated, an energetic, in the spirit of a march, hymn in honor of Venus “Praise be to you” sounds, he is opposed by the insinuating, caressing arioso of Venus “Look, my friend, between the flowers, in the scarlet mist, the marvelous grotto” and her angry curse “Go my impudent servant."

In the second scene of the first act a calm, clear light is poured. A serene shepherd's song. “Here Holda came out from under the mountain” with a solo English horn is replaced by a light choral of pilgrims and colorful calls of horns. The act ends a great sextet of impetuous, jubilant character.

The second act is divided into two sections: lyrical scenes and a grandiose choral finale. In the orchestral introduction and Elizabeth's aria "O bright hall, the palace of art", a feeling of impatient, joyful expectation reigns. The lyrical duet of Elizabeth and Tannhäuser is close in mood. A solemn march with a choir leads to the stage of the competition of singers. Here, small ariosos alternate - performances of minnesingers. Wolfram's first arioso "My eyes are confused" stands out - restrained and calm, accompanied by a harp. His second, melodious arioso “Oh heaven, I call to you” sounds more excited. Tannhäuser's performance is directly compared with him - an ardent anthem in honor of Venus - "Goddess of love, you have one praise." In the center of the widely developed final ensemble with the choir is Elizabeth's soulful, melodious entreaty "Unfortunate sinner, victim of passion." Complete the act enlightened chorale sounds.

Third act framed by the choirs of the pilgrims; in the center of it are solo episodes characterizing three heroes. A large orchestral introduction - "Tannhäuser's Pilgrimage" foreshadows the drama of his story. At the beginning of the act, the majestic theme of the pilgrim choir sounds “I see you again, dear land” (the first theme of the overture). The serenely bright prayer of Elizabeth "The Most Holy Queen of Heaven" is replaced by the wide melody of Wolfram's romance "O you, evening Star". Tannhäuser's story is rich in contrasting mood swings: a jerky recitation sounds against the background of an orchestral theme that recreates a mournful procession; a dazzling vision rises the picture of the papal palace. In the next scene (Tannhäuser and Wolfram) one can hear the enticing orchestral motifs of the Venus kingdom (from the first picture). They are swept away by the solemn sounds of the chorale, crowned with a powerful, majestic choir of pilgrims.

Wolfram's novel "Parzival" (1195-1210) was written on the basis of medieval legends. In the history of Parzival, scenes from the Arthurian legends about the knights of the Round Table and an unfinished work of the French troubadour of the 11th century are used. Chretien de Troy.
Parzival is the son of Gamuret and Herzeloide. He never saw his father, who died in the knightly wanderings in the East. Mother, fearing that Parzival will follow in the footsteps of his father, in every possible way seeks to protect him from acquaintance with the knights, she brings him up in seclusion in a remote forest area. But fate promises Parzival otherwise - he meets the knights of King Arthur in the forest and decides to become one of them. He arrives at the court of King Arthur, fights with the Red Knight, defeats him, and then finds an educator in the old Gurnemanz: the young man must comprehend not only knightly, but also truly Christian virtues. Eager to prove his knightly prowess, Parzival arrives at Belrapeyre, where Queen Condwiramurs is harassed by a suitor for her hand and forced to endure a castle siege. Just as his father freed Herzeloid once, so Parzival frees the queen, marries her and lives in a happy marriage for some time.
But one day he meets a "sad fisherman": this is Amfortas, who knows the way to Montsalvat, to the Christian shrine - the Grail. Visiting the court of King Arthur for the second time, Parzival becomes an equal knight of the Round Table. The hero is waiting for new exploits, but his fate is now connected with the Grail. For several years he wanders and cannot reach Montsalvat: he is hindered by discord with God. Finally, a messenger appears and announces that Parzival has passed his path of redemption and is called to become the king of the Grail. Parzival arrives in Monsalvat, where he meets Condwiramurs, who was faithfully waiting for him, and becomes a father. His son is Lohengrin, later a swan knight.
In Wagner's opera, Parzival is a pure, lifeless youth who goes on a journey to reach the Holy Grail. The "demon of sin", the magician Klingsor wants to prevent Parzival, he is an enemy of Christians, who hit the guardian of the Grail Amfortas with an enchanted spear. Only a pure young man can heal the wound, which Klingsor prevents, tempting Parzival with the bliss of female love. A seductive being was sent to meet Parzival - Kundry, a demonic woman, at the same time the "herald of the Grail" and the tool of Klingsor, the seducer, the "rose of hell", as T. Mann calls her. Kundry promises Parzival the bliss of love and reproaches him for the fact that, having gone on a holy journey, he left his mother and she died of longing and loneliness. With love for the "herald of the Grail," Parzival must atone for his guilt before his mother. Parzival defeats Klingsor and heals Amfortas by breaking the magic spell; he is hailed as the new Grail King, the Christian elect.

Lohengrin. The plot of Wagner's opera

The action takes place in Antwerp, in the first half of the 10th century.
Act one
The mouth of the Scheldt... On ancient land Brabant, a vassal province of the German crown, King Henry I the Fowler gathers his adherents to call the color of the knights to arms, on a campaign against the Hungarians.
The arrival and call of the king coincides with the strife between the lords of Brabant. The recently deceased Duke of Brabant left behind two children: Elsa and little Gottfried. Before his death, the old duke entrusted custody of his son and daughter to Count Friedrich Telramund, to whom he appointed his daughter as his wife. But now the count accuses Elsa of killing her brother. Therefore, Telramund broke the engagement and took the daughter of the Frisian duke, Ortrud, as his wife. Telramund introduces Ortrud to the king and demands for himself power over Brabant, for he is the closest male relative of the late duke.
Elsa appears before the royal court, deeply shocked by this accusation. To the king's questions, she replies that, according to medieval custom, she is ready to subject herself to God's judgment. Let the knight's sword decide who is telling the truth: Telramund or her. The girl says that she saw in a dream a knight in radiant armor, who arrived from nowhere to draw a sword in her defense. By order of the king, the herald asks in a sonorous voice who is ready to join the battle for Elsa. But none of the knights answer the call. The herald repeats the call, and again silence. A victorious smile appears on the faces of Telramund and his wife, the trust of the knights in Elsa is shaken: apparently, this girl is indeed a criminal. Elsa falls to her knees and prays.
But then the crowd gets excited, a boat drawn by a swan and a knight clad in silver armor are approaching along the waters of the Scheldt. This is the hero that Elsa saw in her dream. The knight greets the king and says that he has come to protect the innocent; and then asks Elsa if she agrees to become his wife if he wins the duel. The knight, with the deepest seriousness, warns her that she must not ask him who he is or where he came from. The fight is very short. A knight in silver armor with one blow of his sword knocks his opponent to the ground, but does not kill him, but gives him life. The crowd cheers and greets Lohengrin and Elsa.
Action two
Night. Antwerp Castle on the banks of the Scheldt...
In the illuminated halls, the king and knights honor the victorious knight. And in the dark courtyard hide Telramund and his wife branded with shame and contempt. Ortrud inflames the desire for revenge in her husband. It is necessary to convince Elsa to ask the unknown knight where he is from and what his name is. If this succeeds, Elsa's happiness will come to an end.
Elsa appears on the balcony. She wants to tell about her happiness to the stars and the cool night. Ortrude moans from below. She calls Elsa and complains to her that because of her - Elsa - she and her husband are suffering cruel blows of fate. Elsa comes down to the yard to console her. Ortrud humbly kneels before her, and then deftly translates the speech to the mysterious origin of the knight, urging her not to believe him.
It's getting light. The lights went out in the castle. Servants bring fish and game for the wedding feast, maids gather at the well, knights appear in the courtyard. The royal herald informs everyone that the king has expelled Telramund, who called on the god in a dishonorable deed. An unknown knight will become Elsa's husband and receive the throne of Brabant. Then the herald calls them to celebrate with the king Elsa's wedding to the knight. But tomorrow the new ruler of Brabant will lead them on a campaign. A brilliant wedding procession is shown. When Elsa is already on the steps leading to the cathedral, Ortrud suddenly blocks her way. She declares that the right to enter the temple belongs to her, for Elsa's fiancé is an unknown rogue. Lohengrin is just approaching with the king, sternly indicates Ortrude her place and, together with the bride, goes to the entrance to the cathedral. But now Telramund approaches him and accuses the knight of being a sorcerer and a deceiver, for a real knight would not hide his origin. Lohengrin replies with calm dignity that he cannot reveal his secret even to Elsa. After that, Lohengrin and his bride, full of gloomy forebodings, enter the temple.
Act Three
Picture 1. The king and his retinue lead the young couple into their marriage chamber. When the young are left alone, the knight gently embraces Elsa, but she becomes more and more overwhelmed with confusion. She cannot rest until she finds out whom she loves, whose wife she has become. Lohengrin tries to calm her down and reminds her that she must not violate the ban. But all in vain! And she is beside herself frenziedly demanding that her husband tell her who he is and where he comes from. At this moment, Telramund bursts into the bedroom with four accomplices to kill Lohengrin. But with one blow of the sword, the knight strikes the villain, and he falls dead. The rest, falling on their knees, beg for mercy.
Picture 2. The sun rises over the Scheldt. The squads have already gathered for the campaign and greet King Henry.
A heartbroken Elsa appears. Everyone thinks that she is grieving because she has to part with her husband, who is going on a campaign. Lohengrin also comes, after him they carry the body of Telramund. He tells that Telramund treacherously broke into him, and that, defending himself, he killed the enemy. He then informs the king that Elsa has broken her vow and asked him who he was and where he came from. He will answer this question here, in front of the king and all present. He is the messenger of the Grail and is called upon to protect all the innocent on earth. From the Grail, he received a supernatural power that works only as long as people do not know the name and origin of the knight. If he names himself, he must leave them and return to his homeland. His name is Lohengrin, he is the son of King Parsifal.
A boat is approaching, drawn by a swan. Lohengrin says goodbye to Elsa and to his earthly happiness. If his wife had kept her vow for a year, then her little brother would have returned, and she herself would have kept her happiness. Ortrud appears and gloatingly says that the swan pulling the boat is little Gottfried. She magically turned him into a swan, in order to then accuse Elsa of fratricide and give Telramund the opportunity to take possession of the throne of Brabant. Lohengrin kneels down and reverently prays, asking to remove the magic from the swan. As a sign that the prayer has been heard, a dove descends from the sky.
Lohengrin removes the chain from the swan, and at the same moment little Gottfried, heir to the throne of Brabant, steps on the shore. Ortrud falls dead.
Elsa is heartbroken. The king and his retinue are watching the departing boat. A small boat quickly glides through the waters of the Scheldt, it is attracted by a dove, the messenger of heaven.
Note
One of the first to speak about Lohengrin was the German poet-singer (Minnesinger) Wolfram von Eschenbach (1170-1220) in his chivalric poem Parsifal. Parsifal, after many adventures, becomes the guardian of the Grail. Lohengrin is the son of Parsifal.
Wolfram von Eschenbach combined two stories: the legend of the Holy Grail with the legend of the Knight of the Swan.
The legend of the Grail is of comparatively late literary origin. It appeared at the end of the 12th century and immediately became very popular. Many poems and novels have been written on the plot of this legend.
Here's what she says.
Somewhere in a place where no one knows the way is high mountain Monsalvat. At its top stands a castle made of white marble. Knights live in this castle - keepers of the wonderful Grail. Knights appear from time to time where it is necessary to protect the weak and offended. Wolfram von Eschenbach wove into this legend fairy motif. A wonderful creature, many say folk tales, can love a mortal person under the condition that he does not violate any prohibition. When a taboo is broken - and curiosity always makes it break - the wonderful spouse disappears forever. In fairy tales, he himself flies in the form of a swan. But in later legends, the swan is carrying a rook with a knight.
In addition to the poem by Wolfram von Eschenbach, many more French and German versions of Lohengrin are known. At the beginning of the 19th century, scientists began to collect and study old fairy tales, legends and traditions. The famous researchers and collectors of fairy tales - the Brothers Grimm published in their retelling of the legend: "The Knight of the Swan" and "Lohengrin in Brabant". This revived interest in the legend of Lohengrin.

The plot of Wagner's opera "Tannhäuser"

Source: www.belcanto.ru Action 1.
Inside the "Venus Cave", near Eisenach. Venus is reclining on a luxurious couch, and in front of her, the singer Tannhäuser is kneeling with his head bowed to her chest. Nymphs and Bacchantes circle around them in a passionate dance. The chorus of sirens on the shore of the lake sings the delights of love, the bliss of sweet hugs and burning kisses. Gradually the fog shrouds the mountain, the frantic dance of the Bacchantes subsides, and the groups of dancers in sweet exhaustion settle down at a distance and are lost in thick clouds.
Tannhäuser and Venus are left alone. Tannhäuser, as it were, awakens from a dream and tells Venus about his dreams: he seemed to hear the ringing of bells in his homeland, which he had not heard for so long. These sounds again awakened in him a longing for his dear homeland and an irresistible desire to go home to see again, after many years of separation, his native earth, heaven and stars. Venus asks him with a sad reproach, is he really fed up with his bliss, and her love no longer pleases him. She persuades him to forget about everything earthly and surrender to one tender passion and asks him to sing to her one of those songs for which she fell in love with him so deeply.
Tannhäuser impulsively takes the harp and sings about the divine beauty of Venus, about his passionate love for her, which gave him so many blissful minutes. In conclusion, he asks the goddess to let him go home, saying that memories are calling him to his homeland and he longs to experience earthly suffering again.
Venus is distressed by his song. She calls him an ungrateful traitor and declares that she will not let him go. Tannhäuser objects that he blesses the love with which she made him happy, but he is no longer able to remain, he longs for freedom, free activity and struggle.
Venus, in a strong excitement, tells him that he is free, she does not hold him, and he can go back to cold, callous people, but that he will not find salvation there and with a tormented soul, deceived in his proud hopes, will again return to her. Tannhäuser says goodbye to her and, leaving, says that he will never return to her again. Venus curses him and the whole human race. She tries once again to keep him, predicting that people will refuse to forgive him. But Tannhäuser remains adamant. The magical grotto disappears.
A valley surrounded by forest near the Wartburg. To the side of the chapel. The shepherd sits on a cliff with a flute in his hands and sings a song about spring. Tannhäuser enters and looks around. A group of pilgrims approaching the chapel, singing prayers. Tannhäuser, shocked and touched, kneels down and prays in front of the chapel. The pilgrims leave, and Tannhäuser still remains immersed in prayer and repentance.
The sounds of hunting horns are heard, and soon the Thuringian Landraff Hermann appears with his retinue, returning from hunting; one of the retinue, Wolfram von Eschenbach, to his surprise recognizes in the praying knight the singer Tannhäuser, his friend, who has long been missing. In response to Wolfram's questions, Tannhäuser says that he wandered for a long time in foreign lands, but did not find peace anywhere. Wolfram and the other knights ask him to stay with them and rekindle their friendship.
Tannhäuser rejects the offer, for he does not hope to find consolation among them. Wolfram reminds him of his beloved Elizabeth; this name evokes an enthusiastic feeling of joy in Tannhäuser. Wolfram informs Tannhauser that since he left them, Elizabeth cannot forget him and his songs and does not listen to the songs of other knights. Tannhauser joyfully embraces everyone and, for the sake of Elizabeth, agrees to stay with them and forget all previous strife. The Landgrave and the knights take the newly returned friend to the Wartburg, where Tannhäuser promises to take part in the upcoming singing competition.
Action 2.
Hall for singing competitions in the Wartburg. The landgrave's niece Elizabeth enters in a joyful mood about the fact that singing competitions will begin again in this hall, and she will hear the songs of the one who is so dear to her, whom she listened to in delightful delight.
Wolfram and Tannhäuser appear. Wolfram stops at the back of the hall. Tannhäuser approaches Elisabeth and kneels in admiration before her. Elizabeth shyly but joyfully expresses her gratitude to him for returning to them, and asks him where he was and how he found himself here again. Tannhäuser repeats what he said to the knights, and adds that a miracle led him to meet her again after he had already lost all hope of returning. Elizabeth admits that joy and peace have disappeared for her since he left them, and that in a dream and in reality she dreamed only of him alone. Her confession fills Tannhäuser's soul with happiness and plunges Wolfram into deep sadness, who voluntarily renounces all claims to his beloved Elizabeth.
Tannhäuser and Wolfram are removed. Landgrave enters. Seeing his niece joyful and cheerful, he guesses what she is going through and who is responsible for this change. Guests gather in the hall, counts, knights with ladies, take their seats on the stage near the canopy, under which the landgrave and Elizabeth sit down. The singers take their seats on the opposite side. The landgrave asks them the topic - to sing the essence of love. Whoever exhausts it more deeply will be rewarded by Elizabeth herself; the winner will not be refused, no matter what he asks.
By lot, Wolfram is the first to start the competition. He understands the essence of love in renunciation and suffering in the name of the ideal, and in his improvisation compares love with that sublime and imperturbable feeling that he secretly harbors for one star, shining for him from heaven as a source of delight and rapture. Knights and ladies reward the singer with praise.
Tannhäuser quickly rises from his seat and in his song objects to Wolfram. In his opinion, love lies in pleasure and passion in the name of nature. Tannhäuser is forever burning with passion, and forever he will quench it. Elisabeth expresses her approval to Tannhäuser with a gesture of her hand, while everyone else is silent in embarrassment.
The knight Walter answers Tannhäuser that the source of love is holy virtue, and whoever approaches it with sinful passion defiles it; it should satisfy not the body, but the soul. The knights and ladies noisily approve of the singer. Tannhäuser objected to him with vehemence, saying that Walther's love is miserable, with reverent calmness one can sing only what is far from us - the wonders of creation, heaven and stars, incomprehensible to people; love, on the other hand, is connected with pleasure, and by this it acts on our senses.
The singer Biterolf intervenes in the dispute, who declares that for the sublime love and honor of a woman, he would not hesitate to enter into a mortal battle, and for the pleasures defended by Tannhäuser, he would not even draw a sword from its scabbard. Those present join Biterolf's opinion in expressing their disapproval of Tannhäuser. Tannhäuser calls his adversary a braggart and says in response that he would also not draw his sword for what Biterolf calls true love.
The knights indignantly demand that Tannhäuser be silent. Biterolf rushes towards him with a sword. Landrhaf holds him back. Wolfram tries to stop the quarrel. But Tannhäuser, having given free rein to his feeling, enthusiastically sings a hymn to the goddess of love and beauty and invites those who wish to taste the essence of love in the grotto of the divine Venus. The confession that escaped from the lips of Tannhäuser strikes the pious listeners with horror. Everyone jumps up from their seats, the ladies step back from him in fearful disgust. The landgrave and the knights furiously curse the wicked, ready to strike him with their swords. Elizabeth throws herself between them with a piercing cry.
Everyone stops, amazed at her defense. Elisabeth, in agitation, says that Tannhäuser is involved in a terrible sin by passion, but can repent; will the knights take away his way to salvation? She invites them to take an example from her: Tannhäuser's confession broke her love, meanwhile she forgives him and, through her intercession, wants to return him to pure faith again.
Elizabeth's words make a strong impression on those present. The knights agree with her proposal to give Tannhäuser time to repent. Landgraf allows Tannhauser to go to Rome to beg the pope for forgiveness, warning him that if he does not receive forgiveness, then he does not dare to return to the Wartburg. Elizabeth prays to God for the success of Tannhäuser in Rome. Tannhauser, in the name of love for Elizabeth, agrees to make a pilgrimage to the eternal city. In the distance you can hear the singing of the pilgrims on their way to Rome. Tannhäuser hurries to join them.
Action 3.
Valley in front of the Wartburg. Late fall. Elizabeth, exhausted from longing for Tannhäuser, prays at the cross. Wolfram descends from the mountain and, noticing Elizabeth, stops. He guesses that she is praying for Tannhäuser. She is waiting here to see him among the pilgrims returning from Rome, often passing through this valley. Wolfram wishes her that God would hear her prayers and give her comfort. The singing of pilgrims is heard from afar.
The pilgrims pass not far from Elizabeth, but in vain she looks among them with the eyes of Tannhäuser, he is not there. In deep sadness, she turns to God with a prayer to take her to heaven as soon as possible, so that there, in front of his throne, beg forgiveness for the sins of Tannhäuser. After praying, Elizabeth quietly leaves. The dreamy Wolfram follows her with his eyes full of love, then, looking at the star that lit up in the sky, he compares with inspiration his love for Elizabeth with the love for the evening star, inaccessible to mortals.
At this time, Tannhäuser appears in a pilgrim's rags with a staff in his hands, exhausted and tired. Tannhauser tells Wolfram about his journey, painfully re-experiencing everything that happened to him. Having gone to Rome at the behest of Elizabeth, he was inspired by only one desire - to repent for her sake. He endured many hardships on the way, and he voluntarily inflicted even more suffering on himself, in order to rather earn forgiveness: he buried himself in the snow, tormented his body, walking barefoot on sharp stones. Finally he came to Rome. With fervent hope he hastened to see the Pope. Thousands of people were made happy by the forgiveness proclaimed to them by the pope; when Tannhäuser, prostrated before him, confessed his crime and prayed with burning repentance for the remission of his sins, the pope would answer him with a furious curse, saying that, just as his rod would never make escapes, so too Tannhäuser, doomed to eternal torment of hell will never reach salvation.
Tannhäuser was struck by a curse like thunder, and he lost his senses. When he woke up in the square, alone, and heard the solemn hymn of the forgiven pilgrims coming from afar, his heart overflowed with hatred, and with a feeling of terrible anger, he decided to go again to the shelter of Venus, the path to which he is now looking for, in order to forget his mental anguish and anxiety.
Wolfram persuades him to come to his senses. But Tannhäuser does not listen to him and calls out to the goddess. At this moment, a pink glow illuminates the area before them; images of nymphs whirling in a dance rise in a thinning fog; among them is shown, resting on a luxurious bed, Venus. With a bewitching voice, she calls her favorite Tannhäuser to her, forgiving him his betrayal and promising him again divine pleasures.
Wolfram tries to stop Tannhäuser. He puts all the power of love into his prayer, but, seeing that he cannot tear Tannhäuser away from the vision that enchanted him, he decides to remind him of Elizabeth, saying that this holy woman prays for him every day and with her prayer can save him. The reminder of Elizabeth strikes Tannhäuser like thunder again. He suddenly stops, amazed by the funeral singing of the approaching choir. Venus with the exclamation "Oh woe, woe to me! He is lost to me!" disappears along with all his nymphs.
The same valley opens again, and the funeral procession accompanying the open coffin slowly approaches the knights. In the coffin lies the suddenly deceased Elizabeth. Tannhäuser, supported by Wolfram, approaches the coffin and says: "Oh, pray, holy one, for me!" falls dead to the ground. Pass several wanderers returning from Rome. They sing praises to God for the revealed miracle: the papal staff gave fresh green sprouts, which means that the sinner is forgiven.

Wagner began to write the libretto of Tannhauser under the impression of the Wartburg castle, which he visited on the way from Paris to Dresden. The opera takes place in the Wartburg in the 13th century, and three medieval legends are intertwined in the plot. The first is about a knight who spent a year in the realm of the pagan goddess Venus. The second is about the competition of singers. The third is about Saint Elizabeth. Wagner was familiar with these legends through the writings of Hoffmann and Tieck.

The premiere of "Tannhäuser" in Dresden was received ambiguously. So, Eduard Hanslik, who openly did not like Wagner, spoke enthusiastically about the work: “I am firmly convinced that this is the best that has been achieved in the big opera in the last twenty years ... Richard Wagner, I am sure, is the greatest dramatic talent among all modern composers ". And Wagner himself at the end of his life called Tannhäuser his worst opera.

One way or another, after eight performances, she was removed from the repertoire. Wagner changed the ending, after a while the performances resumed and were a success. Especially for the premiere in French at the Paris Grand Opera, the composer introduced ballet parts into the opera, as was customary in France, but this did not bring success. Perhaps partly because the opera started too early, and the Parisian dandies, offended by the fact that they did not have time to catch the ballerinas dancing in the first act, made a scandal and disrupted performances.

Today, the opera exists in two main editions, the most popular is the first, "Dresden", with a modified finale and without ballet parts. The "Parisian" edition is put much less often.

Tannhäuser is a typical romantic opera, magnificent, with a choir, processions and dance scenes.

The protagonist, the minnesinger knight Heinrich Tannhäuser, in the first act is in the Grotto of Venus, among the sirens, nymphs and naiads. He has enjoyed life here for a long time, and now he is tired of pagan rituals and wants to return to earth. He calls on the Virgin Mary, and the spell breaks - he finds himself at the Wartburg castle, where he meets Wolfram and the knights, his former friends. They reconcile and already go to a singing competition together.

The second act takes place in the castle of the landgrave (prince of the Holy Roman Empire). Arriving here, the protagonist talks with the Landgrave's niece Elisabeth, who yearned for Tannhäuser after his disappearance. A singing competition begins, in which the knights must tell the audience what the essence of love is. Wolfram sings of pure spiritual love, Tannhäuser is sure that love is impossible without sensual pleasure, and sings a hymn to Venus. Suddenly he realizes that he has offended Elizabeth. Everyone is amazed, the knights draw their swords, but Elizabeth covers Tannhäuser with herself. Now he must go to Rome to receive absolution from the Pope.

In the third act, Tannhäuser returns from Rome: he has not received forgiveness. According to the Pope, it is more likely that a dry staff will bloom in his hands than a knight will remove this sin from himself. Tannhäuser is going back to the grotto of Venus, the pagan goddess is already calling him. Elizabeth prays for Tannhäuser and Venus disappears. A group of pilgrims arrive with the news that the staff in the hands of the Pope has blossomed.