NEW YORK—Acclaimed Wagnerian conductor Daniel Barenboim received a standing ovation on Nov. 28 at midnight, concluding this Metropolitan Opera season premiere of “Tristan and Isolde.” It was his Met debut because, according to his playbill notes, he “was always doing other things.”
The story of Tristan and Isolde is a medieval tale of an Irish princess who marries an old king. Triggered by a magic potion, however, Isolde and Tristan—who is the king’s knight and nephew—fall in love with one another. But under Wagner’s hand, the opera unfolds as a timeless contemplation of the question: Can man ever be happy on earth?
The story is set in a Celtic-inspired world without definable religious or Christian context. Tristan and Isolde’s dream is to transcend to a higher realm where their love can surpass all boundaries—whether societal or earthly—as the pair they will be always trapped in their yearning for each other.
Their endless desire is depicted in the music with passages of extreme chromatics and changing tonalities that are only resolved in the very last chord of the opera. In one shining moment of harmony is the conclusion to Isolde’s “Liebestod” (Love Death): “in the world’s eternal breath… to get lost unknowingly—highest bliss!”
Barenboim has a long history with Wagner’s music. In fact, “Tristan” was one of the first operas he conducted 30 years ago. His Bayreuth Festival appearances in the 1980s and 90s conducting “Tristan and Isolde” and the “Ring Cycle” were unforgettable.
Leading the Met orchestra like general through the multifaceted score, Barenboim always served the drama on stage. At the same time, he savored the melancholic breath of the music and its precious moments. Especially with the woodwinds, starring prominently in the “Tristan” score, Barenboim performed magic.
From beginning to end, Barenboim set up a tension that increased with every one of the three acts. Any nervous differences between stage and orchestra at the very beginning were soon forgotten as both succumbed to the intense and harmonious teamwork that—thanks to the passionate performance of the singers—moved quite a few listeners to tears.
Katarina Dalayman as Isolde and Peter Seiffert as Tristan, each with their relatively mellow voices, were not ideally cast for these highly demanding title roles. They both lack the inexhaustible vocal power that Tristan and Isolde need. Despite their giving everything they had, they but were a bit drained at the end of Act 3. This was not due to the orchestra overpowering them; Barenboim tried to take care of them and to control the orchestra at critical moments.
As Isolde, soprano Katarina Dalayman gave a moody and fury-driven performance, searching for revenge in Act 1 and blossoming lyrically with Seiffert in Act 2, but there was little synergy between the two in this highly romantic duet.
Peter Seiffert, the German Helden tenor, reached for his best as a singer and actor portraying a fatally wounded hero in the third act. By his side as Kurwenal, Tristan’s loyal friend and clearheaded alter ego, baritone Gerd Grochowski made his poignant Met debut, compassionately supporting his suffering lord.
Equally intense, mezzo soprano Michelle De Young played Isolde’s concerned servant, Brangaene. She was very powerful and she was more one entity—really striking in her confidence.
The star of the evening was René Pape as the betrayed King Marke. His monologue grew into one of the most the tumultuous moments of the evening with his majestic, warm bass. He simply was the King—sensitive in his sadness and thunderous in his anger.
Although Dieter Dorn’s stage direction trivialized the great love story, and Juergen Rose’s cold geometrical stage design lacked romance, Barenboim and the singers made the evening great. The music could not be defeated.
“Tristan und Isolde” runs through Dec. 20 at the Metropolitan Opera House, (212) 362-6000, metoperafamily.org .
The story of Tristan and Isolde is a medieval tale of an Irish princess who marries an old king. Triggered by a magic potion, however, Isolde and Tristan—who is the king’s knight and nephew—fall in love with one another. But under Wagner’s hand, the opera unfolds as a timeless contemplation of the question: Can man ever be happy on earth?
The story is set in a Celtic-inspired world without definable religious or Christian context. Tristan and Isolde’s dream is to transcend to a higher realm where their love can surpass all boundaries—whether societal or earthly—as the pair they will be always trapped in their yearning for each other.
Their endless desire is depicted in the music with passages of extreme chromatics and changing tonalities that are only resolved in the very last chord of the opera. In one shining moment of harmony is the conclusion to Isolde’s “Liebestod” (Love Death): “in the world’s eternal breath… to get lost unknowingly—highest bliss!”
Barenboim has a long history with Wagner’s music. In fact, “Tristan” was one of the first operas he conducted 30 years ago. His Bayreuth Festival appearances in the 1980s and 90s conducting “Tristan and Isolde” and the “Ring Cycle” were unforgettable.
Leading the Met orchestra like general through the multifaceted score, Barenboim always served the drama on stage. At the same time, he savored the melancholic breath of the music and its precious moments. Especially with the woodwinds, starring prominently in the “Tristan” score, Barenboim performed magic.
From beginning to end, Barenboim set up a tension that increased with every one of the three acts. Any nervous differences between stage and orchestra at the very beginning were soon forgotten as both succumbed to the intense and harmonious teamwork that—thanks to the passionate performance of the singers—moved quite a few listeners to tears.
Katarina Dalayman as Isolde and Peter Seiffert as Tristan, each with their relatively mellow voices, were not ideally cast for these highly demanding title roles. They both lack the inexhaustible vocal power that Tristan and Isolde need. Despite their giving everything they had, they but were a bit drained at the end of Act 3. This was not due to the orchestra overpowering them; Barenboim tried to take care of them and to control the orchestra at critical moments.
As Isolde, soprano Katarina Dalayman gave a moody and fury-driven performance, searching for revenge in Act 1 and blossoming lyrically with Seiffert in Act 2, but there was little synergy between the two in this highly romantic duet.
Peter Seiffert, the German Helden tenor, reached for his best as a singer and actor portraying a fatally wounded hero in the third act. By his side as Kurwenal, Tristan’s loyal friend and clearheaded alter ego, baritone Gerd Grochowski made his poignant Met debut, compassionately supporting his suffering lord.
Equally intense, mezzo soprano Michelle De Young played Isolde’s concerned servant, Brangaene. She was very powerful and she was more one entity—really striking in her confidence.
The star of the evening was René Pape as the betrayed King Marke. His monologue grew into one of the most the tumultuous moments of the evening with his majestic, warm bass. He simply was the King—sensitive in his sadness and thunderous in his anger.
Although Dieter Dorn’s stage direction trivialized the great love story, and Juergen Rose’s cold geometrical stage design lacked romance, Barenboim and the singers made the evening great. The music could not be defeated.
“Tristan und Isolde” runs through Dec. 20 at the Metropolitan Opera House, (212) 362-6000, metoperafamily.org .
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