Meanwhile one might speak of a "Kassel Wagner sound", increasingly refined by general music director Patrik Ringborg and the State Orchestra and making this Lohengrin to an exceptional experience also from the orchestral point of view. Its features are not just an extreme transparency and colourfulness in the sound, an intense music-making in the softer nuances. They also include an unusual sensibility in the accompaniment of the singers. Above and beyond this Ringborg's Lohengrin is characterised by an ever greater incisiveness and punch in the dramatic passages, for example in the prelude to the third act. Deafening cheers for all the musical protagonists.
The fine colloquial tone that music director Patrik Ringborg casually and trenchantly creates for long periods of this Meistersinger is as consistent as the staging. No heaviness, no tough stream prevents the music making that dynamically does everything for the singers and reacts promptly. That Ringborg in skilled in creating an elegiac sound and - when required - producing a lot of noise is apparent in the prelude to the third act and in Sachs' Schusterlied.
It is a magnificent victory for the audacious Patrik Ringborg and his glorious State Orchestra as well. They succeed in creating chamber music-like transparency and pensive melancholy, exciting force and brisk vehemence.