Too Much Ado about Nothing, Wagner’s LOHENGRIN
While I acknowledge that Wager’s Lohengrin has quite a lot of beautiful music, though also quite a lot of what may be called filler, in which the composer stretches out indefinitely and inordinately the basic drama he is depicting. And this drama, in case you hadn’t noticed, is Wagner’s contention that a woman in love must never question her lover about his name, where he is from, or anything of his past. Oh, at the opera’s end, Wagner offers the lame excuse for Lohengrin’s insistence on anonymity by having him reveal that he is a knight of the Holy Grail. As such, says Lohengrin, he must always remain anonymous, even when, as in this case, he falls in love with Elsa. By virtue of his ‘higher’ calling, says Lohengrin, he must insist on anonymity. As usual, Wagner over-reaches. Lohengrim stretches out this meagre plot for four hours and 24 minutes. -more-