Lovers should always harbor secrets; does your wonderful, newly minted sweetheart need to know about that fabulous threesome (with the ice cream cones and canvas stirrups) last year, or your habit of dipping sour cream 'n' onion flavored potato chips in cottage cheese?

In Richard Wagner's opera Lohengrin, all is undone by revealing too much too soon: Princess Elsa is accused by the regent Telramund of murdering her brother, heir to the throne of Brabant. At a trial by combat presided over by King Heinrich, Elsa prays for a savior to fight on her behalf. Accompanied by a magic swan, her heroic knight arrives and promises to defend her on the condition that she must never ask his name or origin. Elsa's nameless savior wins and they marry, but temptation gets the better of the princess, who impatiently implores him for more information.

I won't give the ending away, but things get worse. I watched Lohengrin as a tawdry reality dating show set in the Middle Ages; couples fall into circumstantial relationships and by telling too much too fast, crush trust, hopes, and dreams.

Solidly sung and well staged, Seattle Opera's Lohengrin is worth seeing and hearing, especially the robust voice of soprano Jane Eaglen as the diabolical Ortrud. The real stars are the musicians, led by conductor Asher Fisch. Ravishingly blaring brass, spine-straightening fanfares, and onstage trumpets make Lohengrin a moving, musical treat.

Lohengrin runs four and a half hours, so heed my Fifth Law of Opera: Eat light, dress nice, bring discreet opera glasses (or binoculars), and most importantly, pee before you leave home. CHRISTOPHER DeLAURENTI

Catch Lohengrin Thurs Aug 12, Wed Aug 18, and Sat Aug 21 (McCaw Hall, 321 Mercer St, 389-7676), 7 pm, $47-$123. The lone matinee is Sun Aug 15 at 2 pm.

chris@delaurenti.net