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Generous philanthropic support from Julia and Hans Rausing, Aud Jebsen, Philipp Freise, Ingemo and Karl Otto Bonnier, Crevan O’Grady and Jane Mcclenahan, The Wagner Circle and an anonymous donor
The role of Tannhäuser is supported by David and Clare Kershaw and The Goldhammer Foundation
The role of Elisabeth is supported by Ian and Helen Andrews
The role of Venus is supported by Mathias Döpfner
The role of Young Shepherd is supported by Annie Frankel
The role of Heinrich der Schreiber is supported by Mr Antonio Bonchristiano
The Role of Wolfram von Eschinbach is supported by an anonymous donor
Children under the age five are not permitted into our auditoria. Children over age five must have their own ticket and sit next to an accompanying adult.
Sarah Dufresne and Michael Gibson are Jette Parker Artists
The role of A Shepherd Boy is a shared role, performed by Cruz Fitz (29 Jan | 4 | 12 Feb) and Jarlan Bogolubov (1 | 7 | 16 Feb)
Dancers (Venusberg) Matthew Cotton, Camilla Curiel, Donny Ferris, Evelyn Hart, Liudmila Loglisci, Risa Maki, Sean Moss, Andrea Paniagua, George Perez, Thomas Kerek, Hobie Schouppe, Juliette Tellier
The children’s chorus are The Tiffin Boys’ Choir
Extra Chorus
Sopranos Yvonne Barclay, Celeste Gattai, Shafali Jalota, Kathryn Jenkin, Bernadette Lord, Helen Miles, Alison Rayner, Elinor Rolfe-Johnson, Rosalind Waters, Vanessa Woodfine
Mezzo-sopranos Maria Brown, Alison Crookendale, Zoë Haydn, Frances Jellard, Maria Jones, Clare McCaldin, Jennifer Westwood
Tenors Robert Amon, Phillip Bell, Simon Biazeck, Phillip Brown, Andrew Burden, Andrew Busher, Jonathan English, Andrew Friedhoff, Darrell Forkin, James Geer, Paul Hopwood, Andrew Mackenzie-Wicks, Richard Monk, James Scarlett, Alex Wall
Basses Trevor Alexander, James Birchall, Mark Campbell-Griffiths, Oscar Castellino, Oliver Gibbs, Gabriel Gottlieb, Gavin Horsley, Darron Moore, John Morgan, Martin Nelson, Simon Preece, Mark Saberton, Aidan Smith, Jochem Van Ast, Peter Willcock, Jonathan Wood
Heinrich Tannhäuser, angry and frustrated that his art as a singer is not understood or appreciated, has left his home, the conservative world of the Wartburg. Since then, his singing has won him the love of the goddess Venus.
ACT I
SCENE ONE: THE VENUSBERG
Venus and Tannhäuser celebrate their sensual life in an increasingly frenzied dance. Tannhäuser, however, has had enough of the pleasures of the Venusberg and longs to return to his home. Venus urges him to forget his old life and to sing for her. Tannhäuser begins to sing in praise of Venus’ beauty, but the song soon turns into a plea for him to be allowed to return to his earthly life. Venus attempts to seduce Tannhäuser, but Tannhäuser is adamant that he must leave. Eventually, he escapes, but not before Venus has angrily prophesied he will find no peace and return to her in desperation.
SCENE TWO: A VALLEY NEAR THE WARTBURG
Tannhäuser finds himself back near his former home. A Young Shepherd sings a song to the spring and a group of pilgrims pass by, reminding Tannhäuser of his guilt at having been with Venus. He can see only a life of pain and suffering ahead.
The Landgrave, along with Tannhäuser’s friends and fellowsingers Wolfram, Walther, Heinrich der Schreiber, Reinmar and Biterolf, arrive, greet Tannhäuser and urge him to return to the Wartburg. Tannhäuser is reluctant until Wolfram mentions the name of Elisabeth, the Landgrave’s niece, and tells Tannhäuser how Elisabeth has grieved for him, and become a virtual recluse since he disappeared. Hoping that her love may redeem him, Tannhäuser agrees to return to the Wartburg.
INTERVAL
ACT II
THE WARTBURG
Elisabeth waits excitedly for Tannhäuser’s return. Tannhäuser is led in by Wolfram, and begs Elisabeth’s forgiveness for his absence. She tells him of how his music moved her in the past, and of her grief when he left the Wartburg. The pair rejoice that they are together again. Wolfram, also in love with Elisabeth, realizes that he has no hope of winning her. Tannhäuser and Wolfram leave as the Landgrave enters. The Landgrave tries to discover Elisabeth’s true feelings for Tannhäuser but she begs him not to question her. The Landgrave tells her that the singing contest he has announced will reveal the truth.
Once his people are assembled, the Landgrave announces the subject of the song contest: what is the essence of love? The singer who best answers the question will be rewarded whatever prize he wishes by Elisabeth. Wolfram sings of love as a fountain of pure water; he would never disturb the object of his affection, but only worship her from afar. Tannhäuser contradicts Wolfram, saying that true love is burning desire, rather than spiritual devotion. Walther tells Tannhäuser that it is he who does not know love, and states that love is only virtuous if it is chaste. Tannhäuser responds with scorn, passionately proclaiming the importance of physical desire. This enrages Biterolf, who attacks Tannhäuser for insulting the virtue of woman. The discussion grows increasingly heated until Tannhäuser breaks into a hymn of praise to Venus, revealing that he has been in the Venusberg. The crowd is horrified. The Landgrave and his men are about to attack Tannhäuser when Elisabeth steps forward to defend him. She begs that Tannhäuser be given the chance to repent, even though he has broken her heart. Tannhäuser is devastated at the pain he has caused Elisabeth and begs for mercy. The Landgrave announces that Tannhäuser must travel with a group of pilgrims to Rome and seek the forgiveness of the Pope. As Tannhäuser sets off with the pilgrims, Elisabeth prays for his salvation.
INTERVAL
ACT III
THE VALLEY NEAR THE WARTBURG
Elisabeth, watched by Wolfram, is waiting for the pilgrims to return from Rome, but when they arrive Tannhäuser is not among them. In despair, Elisabeth prays to the Virgin to let her die and through her death save Tannhäuser. Alone, Wolfram calls on the evening star to guide Elisabeth out of the valley of death on her way to heaven.
Tannhäuser enters, exhausted and bitter. He tells Wolfram that the Pope was horrified at his sins and refused him pardon, telling him that he would only be forgiven if the Pope’s staff sprouted green leaves. In despair, Tannhäuser has decided to return to the Venusberg, and calls upon Venus to take him. Wolfram urges him not to give up hope of salvation. Venus appears, calling seductively to Tannhäuser to return to her. Wolfram, desperate to stop Tannhäuser, calls out Elisabeth’s name. At that moment the men of the Wartburg bring news of Elisabeth’s death, and Venus vanishes. Wolfram explains to Tannhäuser that Elisabeth has sacrificed herself in the hope of saving his soul. Tannhäuser at last understands the depth of Elisabeth’s love, and his final words are ‘Elisabeth, pray for me’. And now a miracle is revealed. The Pope’s staff has sprouted green leaves: Tannhäuser’s soul is saved.
Edward Reeve and Eleanor Burke are Jette Parker Artists
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Director of Opera
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We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.
You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.
Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.
Cast sheets generously supported by the Royal Opera House Endowment Fund.
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Only bottled water and ice cream purchased from the premises can be taken into the auditorium.
If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.
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We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.