When Fran莽ois Girard鈥檚 ethereal production of Wagner鈥檚 Parsifal premiered at the Met in 2013, it was an immediate triumph, hailed by The New York Times as 鈥渂rilliant ... thoughtful and intrepid, full of striking imagery.鈥� This month, he鈥檚 back to direct a new production of Lohengrin, returning Wagner鈥檚 soaring masterpiece to the Met stage for the first time in 17 years.
In Wagner's medieval epic, Elsa of Brabant is accused of murdering her brother. As champion to defend her honor, Elsa calls upon a mysterious knight who has appeared to her in a dream. The knight has only one rule: Elsa must never ask him his name or origin. The opera contains some of Wagner's best-known music, including the aria "In fernem Land," the rousing Act III prelude, and the famous Bridal Chorus.
The titular Knight of the Swan, Lohengrin, is played by tenor Piotr Beczala, right on the heels of his performance in . Elsa is played by soprano Tamara Wilson.
Ahead of the production鈥檚 highly anticipated premiere on February 26, Girard spoke to the Met鈥檚 William Berger about picking up where his celebrated staging of Parsifal left off.
This will be your third Wagner production for the Met鈥攚hat attracts you to his operas?
Fran莽ois Girard: I find the music endlessly absorbing. And that鈥檚 the number-one criteria, because deciding to work on an opera is almost like buying a house鈥攜ou鈥檙e going to live in it. I am also drawn to his use of myths and legends and all of the abstract ideas. Probably because I鈥檓 a filmmaker, when I work on an opera, I like to move away from naturalism.
Parsifal is one of the most complicated pieces in the repertoire, both dramatically and in terms of the themes that Wagner explores. How did your experience with Parsifal inform your work on Lohengrin?
Once you鈥檝e done Parsifal, you know the destination of Wagner鈥檚 whole lifetime of ideas about music and theatre, so when you go back and look at Lohengrin, you see the seeds of what鈥檚 to come. It gives you a retrospective on what you鈥檙e dealing with. The other obvious connection is the sequel-prequel relationship between these two works, because in the opera, Lohengrin is actually the son of Parsifal.
How does that factor into your staging?
Treating this as a sort of sequel presented an interesting way to deal with the issues at stake. One of the difficulties of Lohengrin is that it presents one of the few historical figures in Wagner鈥檚 work, King Heinrich, so there is a sense of reality that isn鈥檛 in the other pieces. But if our Parsifal was set in the present day, that throws Lohengrin into a diffused future, which allows us to approach this as a futuristic echo of history, rather than being totally literal.
Are the two productions visually similar?
There are some aesthetic continuities, but this production is not as naturalistic as Parsifal. Lohengrin will be dressed like the knights in Parsifal, and there is some similar imagery of the cosmic sky in Peter Flaherty鈥檚 video projections. They鈥檙e very much in the same language, but it鈥檚 clear we鈥檙e moving from the magical world to the real world. My dream is that both productions could be played together on consecutive nights鈥攖o really show the connections between these two extraordinary pieces.
