Wagner: Tristan und Isolde

'Tristan Und Isolde' is one of my favourites of Wagner's operas, and there is a good deal to like about all of them, even less well known or infrequently performed ones.

While long (though not his longest, 'Die Meistersinger Von Nurnberg', also a favourite, 'Gotterdammerung' and 'Rienzi' being longer) with a first act that takes its time to unfold, the opera's erotic atmosphere, the emotional impact of Act 3, well-drawn characters, the complex drama of Act 2 and especially Wagner's music, which is some of his most beautiful and extraordinary.

It is sad that overall this 2016 Met production doesn't do this great opera justice. Granted, there are worse performances available of 'Tristan Und Isolcde', with Jon Frederic West and John Treleaven being unspeakably bad in their respective productions. This said, it really is not one of the better ones, and there are some very good ones available.

Just for the record, a production being different and not being traditional is in no way an issue for me. There are plenty of conceptual, non-traditional productions that have worked remarkably well, because the production respects the opera, composer and the audience and even with new ideas and such the spirit isn't lost. This 'Tristan Und Isolde' is an example of a production where musically it is exemplary and an absolute nightmare visually. The passion and eroticism is completely lost in translation in favour of very stark and unattractively grim production values and staging that is static, perplexing, cynical and confused at best.

Starting with the good things, as said, musically the production cannot be faulted. The orchestra absolutely revel in the luscious and quite thick orchestration without ever feeling pedestrian or stuck in wallowing. Yet they also give an epic intensity to the more soaring and heavier moments, which means a good deal of Act 2. The Act 1 and 3 preludes are just exquisitely played. They couldn't have been more perfectly supported by the alert yet sympathetic conducting of Simon Rattle, where he gives the music pace and intensity but also nuance and breathing space, things never feeling rushed or limp.

Nina Stemme's voice gleams in beauty as Isolde, sounding lustrous particularly in "Liebestod", while not being taxed in the numerous and notoriously taxing heavy moments where it is very easy to be shrill or scream-like, both of which Stemme avoids. Like with last season's 'Elektra' (one of the best of that season), she proves that she can indeed act and give a passionate and deeply account of Isolde which is more than her staging deserves. Stuart Skelton's music is even more taxing, Act 3 being a killer, which Skelton manages with a honeyed tone and little signs of strain or fatigue, only sounding strained and flat in the Act 2 duet. Dramatically, he has a lot of authority and command, with Act 3 being particularly heartfelt and vivid.

Rene Pape is especially brilliant of the other principal roles, his voice is as ever warm, beautiful (not in a while has there been a more gorgeously sung King Marke monologue) and with phrasing as smooth as silk and his acting is very moving and authoritative. His visually striking entrance is the best staging touch of the whole production, and a particularly great moment in his acting that can only be seen in close up is a facial expression in Act 2 where he is mournful and sympathetic which quickly turns into snarling anger that is quite frightening. Evgeny Nitikin is a rich voiced and loyal Kurwenal, any reservations of initial aggression is quickly gone in his affecting account of his Act 3 music. Although a little underpowered to begin with, Ekaterina Gubanova more than holds her own against Stemme and her Act 2 warning (some of the most ravishing moments of the opera) is beautifully sung and like it's coming from another world.

On the other hand, also as said, the production just looks ugly and one-dimensional. The constant grimness is unattractive and becomes tiresome, making one beg for some colour and more dimension. This is including the projections, where one is questioning their point, at first they're striking but quickly they become repetitive and pedestrian. The only visually appealing touch is King Marke's first entrance in Act 2, which is more than welcome.

Furthermore, there is very little positive that can be said for the stage direction. Act 1 to begin with is static, Tristan and Isolde's love and chemistry is at best lukewarm and very little of it is compelling and makes the production badly drag despite such extraordinary playing and singing. Worse is staging touches, especially the omnipresent additional characters like the child, that not only add nothing but also confuse the drama and in complete contradiction to the very specific libretto. The eroticism and passion is completely lost, and full of moments that lay it thick with gratuitous melodrama and a bad mix of the perplexing and the incomprehensible.

All in all, a musical marvel but a visual and staging nightmare. 5/10 Bethany Cox