John Treleavens gripping Tannhäuser

‘On the male side, the evening belonged to John Treleaven. He not only achieved the feat of singing the difficult main part harmoniously throughout, but with or even in spite of this effortless way of singing set artistic highlight upon highlight and thought of countless new minutiae for the role. „O Königin, Göttin, lasst mich zieh’n“ (O Queen, Goddess, let me go!) was already a powerful expression of deepest despair. During his renewed encounter with the fellow minstrels and with Elizabeth, we were able to perceive the feelings of guilt he bore from his stay with the Goddess of Love by the way he sang and by his body language. His facial expression during the song contest renderings of his fellow minstrels was absolutely delectable. New to me: a Tannhäuser who after his avowal „Zieht hin, zieht in den Berg der Venus ein!“ (fare hence, fare hence into the Venusberg!) is so consumed by his successful provocation that he laughs out loud several times, while general outrage prevails in the background, before he realises what he has just done. Moreover, Treleaven is one of the few Heldentenors who have no problem with the high notes of “Erbarm dich mein” (Have mercy on me!). A haunting tale of Rome was followed by such a painfully intense “Heilige Elisabeth, bitte für mich!”, (Holy Elizabeth, pray for me!) that the inner drama actually finds its conclusion here.’

Tannhäuser

John Treleaven, who a week ago sang the role for the very first time, was vocally supremely good as Tannhäuser. In taking over this role, the sheer staying power of his tenor, equally good in all registers, both in his powerful, lyrical, poetic phrases and his impressive heroic tones, conclusively conquered the Wagnerian Olympus. The narrative of the “Romerzählung“ was magnificent - full of despairing intensity, the high point of which is a powerful and painfully cynical papal curse.