A cancellation at the opera usually implies disappointment.
Not so in this case where, after the withdrawals of Christian Thielemann and Bertrand de Billy, the honours in the pit fell to Mikko Franck. Seizing the opportunity, he transpired to become the true star of this new Lohengrin production.

His reading leaves no wish unfulfilled, and judging by the accuracy and focus of the State Opera Orchestra, the young Finnish conductor has apparently found favour among their ranks. He gave his house debut last month replacing an indisposed Franz Welser-Möst in La bohème, and will hopefully return for future projects.

Andreas Homoki's concept and direction are commendable in many respects. Evidently a master of his craft, he creates credible characters, manages the huge choral scenes with expertise, and succeeds in breathing life into this rather compact and monochrome version. Reducing the setting to Bavarian village life with its political and personal intrigues naturally deprives the work of much of its grandeur and mystique, but nonetheless functions on a more intimate basis with its one set, simple props, and traditional "Tracht" costumes (Wolfgang Gussmann). Any text/visual clashes are minimal compared to many contemporary productions, and lose significance within the overall "Gesamtkunst" which the team here achieves.

Wolfgang Koch's Friedrich von Telramund towers in dimension above his colleagues. His subtle use of word and vocal colour combined with a fearless ability to lash into the role's dramatic phrases with seemingly-endless stamina are no less than thrilling.

An effective foil - Michaela Martens' Ortrud wins through her imposing stage presence and intensity, generally reflecting her foreboding power and intent through her singing, which only in some of the more expansive phrases suffers an occasional lack of focus and clarity of diction. Ortrud and Telramund's Act II opening was of superb dimension, and ranks as the dramatic highlight of the evening.

It is a pity that Camilla Nylund's tired vibrato detracts from an otherwise ideal Elsa - attractive in deportment, full of lyricism, and convincing in interpretation.        

Klaus Florian Vogt's vocal approach favours the lyrical passages featured in the title role. His light heady timbre works well in "In fernem Land", which was sensitively phrased and well executed. More pressurized moments are less ingratiating, and make one wish for more tonal weight - particularly when the visual image present is virtually heroic in stature.

As Heinrich der Vogler, Günther Groissböck well-suits this downscaled setting, absolutely convincing in character and making clever use of his slender (but well-projected) bass-baritone.

The declamatory requirements of the Heerrufer are not ideally suited to Detlef Roth's vocal qualities - as such, this casting was ill-advised.

The remaining parts were competently taken, and this was one of those occasions when the spectator can only marvel at the qualities of the State Opera Chorus, who perfectly complimented their colleagues in the pit in the finest imaginable showing.

A night to remember.