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Review: James Levine Conducts ‘Tannhäuser’ at the Met

The baritone Peter Mattei, left, as Wolfram and the tenor Johan Botha as his romantic rival, the title character, in “Tannhäuser,” conducted by James Levine at the Metropolitan Opera.Credit...Caitlin Ochs for The New York Times

It was hard for admirers of James Levine not to be worried about how he would fare conducting Wagner’s “Tannhäuser” on Thursday, when Otto Schenk’s 1977 production returned to the Metropolitan Opera. Just days earlier, the company had announced that Mr. Levine was withdrawing from an important new production of Berg’s “Lulu,” opening on Nov. 5, to concentrate his energies on “Tannhäuser.”

These two long, demanding scores have been Levine specialties for decades. Though still grappling with health problems, Mr. Levine had agreed to conduct both, even though their runs overlapped. The demands seemingly proved too much.

But on Thursday, Mr. Levine, 72, had the requisite stamina and focus to lead a stirring and insightful account of “Tannhäuser.” From the overture, which begins with the steadfast hymn theme that the pilgrims of this story, set in medieval Germany, will sing on their journey to Rome, Mr. Levine drew breadth and richness from the orchestra. When the overture shifted to the shimmering, restless music associated with the Venusberg — the realm of the love goddess — the playing had nimble lightness and gossamer textures.

Once in a while his energy seemed to flag, and details went astray. This was a performance that emphasized the big-picture elements of the score. At times, when some plush Wagnerian orchestral burst dissolved into a misty passage, the playing lacked definition. And there were episodes, especially some exchanges among singers of dramatic recitative, where more incisive execution from the orchestra would have helped. Still, Mr. Levine got his points across. That he has a wealth of experience in Wagner’s style came through consistently.

The Met has assembled an exceptional cast, headed by the tenor Johan Botha as Tannhäuser, the knight minstrel who, when we meet him, has been dwelling in the realm of Venus, basking in her love. This punishing role requires enormous agility through a wide range as well as abundant power and stamina. Mr. Botha sang with clarion sound and impressive ease throughout.

This valuable artist is a reminder that singing comes first in opera. Mr. Botha has an awkwardly hefty physique and is no actor. It didn’t matter. His voice conveyed youthful yearning and, when Tannhäuser goes through a spiritual crisis, despair and confusion.

The mezzo-soprano Michelle DeYoung gave her all to the role of Venus, singing with earthy colorings and, when rejected by Tannhäuser, steely defiance. Her voice sometimes turned strident, but the sheer intensity of her performance swept you away.

Eva-Maria Westbroek’s bright soprano voice may not be ideal for Elisabeth. This trusting young woman has fallen for Tannhäuser, entranced by his poetic songs. Ms. Westbroek’s sound sometimes had a hard edge and wobbly vibrato. Still, the gleam, penetrating power and expressivity of her singing made her an impetuous and vulnerable Elisabeth.

The bass Günther Groissböck brought robust sound and dignity to Hermann, the landgrave of Thuringia and Elisabeth’s uncle. And this production includes the great Swedish baritone Peter Mattei as Wolfram, the knight who also loves Elisabeth. He is ready to step aside for Tannhäuser, until it becomes clear that his rival has corrupted his soul consorting with Venus. Mr. Mattei, overwhelming as Amfortas in the Met’s new production of “Parsifal” in 2013, is comparably compelling as the noble Wolfram. His voice had both unforced power and mellow beauty. I can’t imagine hearing a more elegant account of the “Song to the Evening Star.”

The Met chorus, as usual, sang magnificently. Mr. Schenk’s scrupulously traditional production, last seen at the house in 2004, has its charms, especially during the Hall of Song scene, when guests march in amid banners and onstage fanfare. The ballet sequence in the opening scene at the Venusberg remains pretty silly, with amorous nymphs and satyrs leaping about in lacy dresses and loincloths. This Venus hosts only tasteful orgies.

The encouraging news was Mr. Levine’s strong work. The looming question, though, is whether it’s enough for the Met’s music director to lead just seven performances of a Wagner opera during the first months of the season, while passing on a new staging of “Lulu” planned in large part just for him.

“Tannhäuser” runs through Oct. 31 at the Metropolitan Opera House, Lincoln Center; 212-362-6000, metopera­.org.

A version of this article appears in print on  , Section C, Page 1 of the New York edition with the headline: Excessive Consorting With Venus. Order Reprints | Today’s Paper | Subscribe

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