Tannhäuser has returned to the Met. Here’s my essay for the Met’s program:
Wagner never completely came to terms with Tannhäuser. On the
evening of January 22, 1883, less than a month before his death, he
ended a conversation with his wife Cosima by playing the Shepherd’s
Song and Pilgrims’ Chorus on the piano. In her diary entry for that day, Cosima quotes her husband lamenting that, “he still owed the world a Tannhäuser.”
Even if Wagner was merely referring to a production suitable for Bayreuth
(where the opera would be posthumously introduced under Cosima’s direction
in 1891), he remained anxious long after Tannhäuser’s premiere in 1845 abouthow to improve what he had created.
This anxiety bordered on obsession: Tannhäuser stands alone among the canonical Wagner operas as a continual “work-in-progress” over which the composer restlessly fretted, rethinking its premises on the occasion of each new production and periodically subjecting it to revision.
continue reading [pdf: p. 40]