Tannhäuser review – musically strong but an awkward production

Tim Albery’s 2010 production of Tannhäuser returns to Covent Garden for its first revival, but it remains to some extent an awkward piece of music theatre. Albery muddies Wagner’s vision of the conflict between flesh and spirit in an artist’s soul with imagery about illusion and reality in art itself, and art’s role in dark political times. Sophie Koch’s Venus presides over an erotic table-dancing show that takes place within a model of the Opera House stage. When Peter Seiffert’s Tannhäuser returns to the world of men, we find him in a warzone where the blasted remains of the Venusberg are visible among the rubble. There’s little sense, however, of a society governed by religious values, which obscures the significance of the communal outrage at Tannhäuser’s sexual rebellion.

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Hartmut Haenchen conducts the Paris version of the score with lithe, swift tempi, though his pacing is wonderful and nothing feels rushed. The singing varies from decent to great. In the immensely taxing title role, Seiffert impresses with his stamina, though his voice is now less than beautiful. Koch is occasionally pushed in her upper registers. There are, however, distinct plusses: Christian Gerhaher, beautifully alert to the nuances of text and line, remains among the finest of Wolframs; Emma Bell makes a rich-toned, nobly assertive Elisabeth; and Stephen Milling sounds superbly sonorous as the Landgrave. The choral singing is exceptional.

• In rep at the Royal Opera House, London, until 15 May. Box office: 020-7304 4000.