The chilling echoes of a scream announce the passing of Richard Wagner. As the curtain rises, we witness the somber funeral of the famed composer, surrounded by mourning family members and followers adorned with badges emblazoned with a ‘W’ for ‘Wagnerian’. The scene, infused with a touch of dark humor, is amplified by the sounds of wafting trumpets. To my surprise, Wagner soon returns, resurrected as the Wagner-Daemon, sporting a vibrant lime green outfit reminiscent of Kermit the Frog, albeit with a rather stylish beret.

This surreal moment aligns perfectly with the dynamic aesthetic of Polly Graham’s electrifying production of Avner Dorman’s Wahnfried: The Birth of the Wagner Cult, marking its UK debut at the British Bayreuth, Longborough Festival Opera. The production is skillfully conducted by Justin Brown, who commissioned the opera. The brisk libretto, crafted by Lutz Hübner and Sarah Nemitz, addresses significant themes ranging from art, nationalism, and fascism to antisemitism, homophobia, and the interplay of politics and power, all delivered with a biting satire and elements of absurdist theatre intertwined with a haunting narrative.

The captivating score traverses various styles, ranging from the sharpness of Kurt Weill to the frantic energy of Shostakovich, dissonance in Berg, and echoes of military marches to flowing waltzes and driving minimalism. While the second act occasionally drags and has a somewhat homemade quality, the production, inspired by Weimar Republic cabaret, proves to be more successful than not.

The plot revolves around Wagner’s death, igniting a fierce struggle akin to the television series Succession, wherein family members vie for control over his Bayreuth Festival and cultural legacy. The Wagner-Daemon, portrayed with impressive physicality by Oskar McCarthy, embodies the enduring artistic spirit of Wagner. However, the narrative’s focal point is Houston Stewart Chamberlain, portrayed skillfully by Mark Le Brocq, who starts as an awkward British outsider enamored with butterfly hunting yet rises to influence through his association with Wagner’s family.

After abandoning his first wife, Anna, Chamberlain weds Wagner’s daughter, Eva (also beautifully sung by Meeta Raval), and authors a book promoting Aryan supremacy, which captures the interest of a young Adolf Hitler (played by Adrian Dwyer). The opera critically examines how Chamberlain, alongside the widowed Cosima Wagner, played a significant role in distorting Wagner’s legacy, echoing the sinister adaptations embraced by the Nazis. On stage, the impacts of antisemitic prejudice are embodied by Edmund Danon’s dual portrayal of Hermann Levi, the original conductor of Parsifal—both as a living presence and a ghost. While Dorman may not provide clear answers regarding Wagner’s associations with the Nazis, he undoubtedly reflects a pertinent commentary on the harmful and racist ideologies that persist in modern society.
★★★★
240 minutes (including dinner interval) to Jun 14, lfo.org.uk