TRISTAN UND ISOLDE
an opera about medieval lovers
for modern lovers of opera
Tristan und Isolde, probably had more viewers then ever in a single performance on Met Simulcast on Oct 8 than in composer Richard Wagner’s life time. I have no concrete numbers to support that statement—but it is a likely possibility as this is the way opera is viewed by the most people today.
Wagner took a medieval legend, turned it into a story for 19th century sensibilities. The Met has gone further with a production with modern technological touches.
I thought as I listened, how modern is this music, and perhaps it was because I was seeing the scenes now set in a three level ship and then in a warehouse and finally in a hospital room. Perhaps it was because Wagner’s music has had such influence on what was written after him. But there was no doubt in my mind, that if Wagner had indeed just composed this giant work, he would steamroll any modern composer writing today.
And then I had a reverse thought— What might Wagner think of this production, he who was so precise about every word — to now see that the translations were flashed on the screen in English. Would he be pleased with this outstanding Wagnerian opera stars of today, Nina Stemme as Isolde, Stuart Skelton as Tristan, Ekaterina Gubanova as Brangäne, René Pape as King Marke, and Sir Simon Rattle conducting
Peter Gelb, General Manager of the Met, said this was the 11th year of Simulcast, the 100th opera performed, and the opening production of the 50th anniversary of the Met at Lincoln Center. The choice of Tristan und Isolde was to have something big, with the greatest stars today, and then broadcast it live from the giant stage to the giant screen.
This is as big as it gets. Mega genius that he was, bets are that Wagner would have loved it!
COMING NEXT—MOZART’S DON GIOVANNI
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