I was no less fascinated than any writer by the troops of rats Hans Neuenfels mustered for his production of Lohengrin, which premiered last year (2010). It isn't fair or even intelligent to focus on the most obvious twist in his Neuenfels' vision of Wagner's first grail opera, but Neuenfels turned the rodents loose on us as bait, and in the world of theater, it is only right to jump on it with all the alacrity of one of the rats, when he or she sniffs some appetizingly ripe garbage—or bacon, as Herr Neuenfels has said. And I don't mention this to demean the rats, Neuenfels clearly did not intend them as red herrings, but as an intellectually nutritious and tasty Vorspeise.
This full realization of the Ring as drama became the unifying principle of the production, as it was perhaps meant to be, but unified musical direction was lacking—the greatest challenge the participants faced—since the Music Director of the Staatskapelle, Fabio Luisi, who is now basking in adulation in New York—justifiably, as it would seem from his sensitive reading of Berg’s Lulu—summarily cancelled his engagements with the orchestra, following a set-to with the Intendant, Gerd Uecker. (We are interested in music drama here, and this is not the place to tell this unpleasant story.) In the end, Luisi was not greatly missed, although the most significant shortcomings of the Ring as a whole stemmed from the weaknesses of one of the three conductors who took over the Maestro’s responsibilities. On the contrary, the audience had ample reason to rejoice in Asher Fisch’s energetic and visceral Siegfried, and, even better, in the discovery of an extraordinary new talent, Jonas Alber, who, at 41, is little known outside Germany