One only wishes that their roles were not restricted to the first scene. Whilst Vardimon’s movement direction seems familiar to those in the audience acquainted with her previous work, the dancers perform sensual and vivacious sequences contributing a new visual dimension to the operatic experience. This requirement for spatial architecture is addressed in the form of a performance by a cast of twelve dancers who portray the energetic sprites of Venus choreographed by acclaimed contemporary Choreographer, Jasmin Vardimon. In contrast to many operas offputtingly gaudy sets, the stage here is bare and simple, which is refreshing, however one can’t help thinking that the vast expanse of space requires greater composition. The opening scene of Tannhäuser is set in ‘The Venusberg’ (the goddess Venus’ erotic lair which is also referred to by pious mortals as hell). However, The Royal Opera’s current reimagining of Wagner’s Tannhäuser (1875 version) is a prime example of how opera can be accessible to a wider audience through emotional intensity and aesthetic considerations. A genre that in contemporary society many view as restricted for musical experts and the elite upper classes.
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