Tristan und Isolde is based on an Arthurian legend, a regular theme in Wagner’s opera – domed lovers…
Wagner has written this opera under the heavy influence of Schopenhauer’s philosophy with strong flavors of Buddhism.
His masterpieces always treat the orchestra as a crucial part of the drama, and have importance equal to the singers, projecting an underpinning philosophical, allegorical, metaphysical meaning. Sometimes, the orchestra is a character, almost as a chorus in a classical Greek drama. To do that, he has invented concept of leitmotif.
And in Tristan und Isolde, Wagner is definitely at the top of his game. He begins the opera with prelude, in the way he meant to go on the rest of the opera. It (prelude) doesn’t have any tonal center nor a beat… a complete brake with the musical tradition, so strong, I guess, even professionals can’t determine any key. Full with leitmotifs, and especially remarkable are the drink/dead/desire and the love/dead.
Now, it is fair to mention that Wagner hated the word opera… so this is a musical drama or as he put it, the gesamptkunstwerk or "total art work."
Back to this particular performance...
Jugged from the scenography, or to put it right, the luck of it, during the economic crises, we should expect somewhat leaner spending for performing arts... Above, one and only scene.
The orchestra was extraordinary and wonderful and everything was on place, with all subtitle effect of the Wagner’s music, like for example frenzied waves of fever in the Act III…
The famous horn cup scene, the drinking of the love poison… or maybe this is only a placebo and they already madly love each other… why know…
Johnny van Hal (Tristan) was at start quite at the limit of his voice, and in some particular moments, over…
But in Act II, when Tristan and Isolde engage in 30+ minutes duet, he depicts Tristan’s passion quite remarkably. And the star of the performance; Iréne Theorin (Isolde) is simply fantastic and with perfect vocal and acting precision. I will enjoy seeing her in different roles.
Randi Stene (Brangäne) doesn’t have acting ability to coupe with Wagner’s drama, but she has sung well. Sten Byriel’s King Mark is an absolute success and I’m positive he can make an opera just with his monologue. John Lundgren (Kurwenal) was very solid.
Christina patiently waiting for Act III… Wagner’s artistic megalomania requires not only complete attention, but also great crunch of our time… 5 hours in this case...
In Act III Iréne Theorin sing fantastically the famous so-called Love/Dead aria. This is moment of transfiguration and it has been exquisite.
In my opinion, all-together, was an excellent experience and I’m positive I’m not missing next performance of the Ring of the Nibelung by the Danish Royal Opera.
Copenhagen, Operaen, Store Scene
Period: Unfortunately I’ve been on the last performance for this season.
Wagner has written this opera under the heavy influence of Schopenhauer’s philosophy with strong flavors of Buddhism.
His masterpieces always treat the orchestra as a crucial part of the drama, and have importance equal to the singers, projecting an underpinning philosophical, allegorical, metaphysical meaning. Sometimes, the orchestra is a character, almost as a chorus in a classical Greek drama. To do that, he has invented concept of leitmotif.
And in Tristan und Isolde, Wagner is definitely at the top of his game. He begins the opera with prelude, in the way he meant to go on the rest of the opera. It (prelude) doesn’t have any tonal center nor a beat… a complete brake with the musical tradition, so strong, I guess, even professionals can’t determine any key. Full with leitmotifs, and especially remarkable are the drink/dead/desire and the love/dead.
Now, it is fair to mention that Wagner hated the word opera… so this is a musical drama or as he put it, the gesamptkunstwerk or "total art work."
Back to this particular performance...
Jugged from the scenography, or to put it right, the luck of it, during the economic crises, we should expect somewhat leaner spending for performing arts... Above, one and only scene.
The orchestra was extraordinary and wonderful and everything was on place, with all subtitle effect of the Wagner’s music, like for example frenzied waves of fever in the Act III…
The famous horn cup scene, the drinking of the love poison… or maybe this is only a placebo and they already madly love each other… why know…
Johnny van Hal (Tristan) was at start quite at the limit of his voice, and in some particular moments, over…
But in Act II, when Tristan and Isolde engage in 30+ minutes duet, he depicts Tristan’s passion quite remarkably. And the star of the performance; Iréne Theorin (Isolde) is simply fantastic and with perfect vocal and acting precision. I will enjoy seeing her in different roles.
Randi Stene (Brangäne) doesn’t have acting ability to coupe with Wagner’s drama, but she has sung well. Sten Byriel’s King Mark is an absolute success and I’m positive he can make an opera just with his monologue. John Lundgren (Kurwenal) was very solid.
Christina patiently waiting for Act III… Wagner’s artistic megalomania requires not only complete attention, but also great crunch of our time… 5 hours in this case...
In Act III Iréne Theorin sing fantastically the famous so-called Love/Dead aria. This is moment of transfiguration and it has been exquisite.
In my opinion, all-together, was an excellent experience and I’m positive I’m not missing next performance of the Ring of the Nibelung by the Danish Royal Opera.
Copenhagen, Operaen, Store Scene
Period: Unfortunately I’ve been on the last performance for this season.
