* AlternateCharacterInterpretation: Depending on the production, Heinrich has been depicted as everything from a weak-willed sensualist to a bold artist rebelling against a repressive proto-Nazi society. Venus is sometimes presented as the old Paganism, the life-giving force of sex, the source of true-inspiration, or a mere figment of Heinrich's psychotic imagination.
** Elisabeth's love for Heinrich may be seen as natural female sexual attraction to an arrogant, fickle renegade (as listed under AllGirlsWantBadBoys on the [[Theatre/{{Tannhaeuser}} main page]]). In the alternative, it may be the opposite--divinely inspired by God, to teach the world a lesson about Christian redemption. Wagner's own experience as a badboy seducer argues for the former; the Christian context of the legend argues for the latter. A third possibility is suggested by Wolfram - that Heinrich's songs won her heart (despite, not because of, his worst characteristics).
* CrowningMomentOfAwesome: The ''tour-de-force'' at the end of the second act, when the ''fortissimo'', mostly tenor, baritone, and bass, ensemble of the nobles is interrupted unexpectedly by the ''pianissimo'' soprano chorus of the younger pilgrims. Breath-taking.
** And the horn-calls at the end of the first act...which are monstrously hard on the French Horn players, but are like nothing else in the operatic canon.
* DesignatedHero: Heinrich is traditionally the least popular of Wagner's heroes, being a wishy-washy whiner and obviously ''far'' less worthy of Elisabeth than Wolfram.
* [[TheyWastedAPerfectlyGoodPlot He Wasted A Perfectly Good Plot]]: No less a figure than [[Creator/GKChesterton G.K. Chesterton]] complained that Wagner's last-minute redemption of Heinrich spoiled the entire point of the original legend. (To be sure, he was less than familiar with the opera, having no ear for music.)
%%* PuritySue: Elisabeth