Richard Wagner (1813-1883): Tristan und Isolde, action in three acts in a composer’s libretto. Direction and sets: Dmitri Tcherniakov. Costumes: Elena Zaytseva. Lights: Gleb Filshtinsky. With: Andreas Schager, tenor (Tristan); Stephen Milling, bass (King Marke); Anja Kampe, soprano (Isolde); Boaz Daniel, baritone (Kurwenal); Stephan Rügamer, tenor (Melot); Ekaterina Gubanova, mezzo-soprano (Brangäne); Linard Vrielink, tenor (a Shepherd/Young Sailor); Adam Kutny, baritone (a Helmsman); Staatsoper Choir (choirmaster: Raymond Hughes) and Staatskapelle Berlin, conductor: Daniel Barenboim. Directed by: Andy Sommer. 2 Bel Air Classic DVDs. Recorded April 2018. 24-page manual in English, French and German. Total duration: 254: 00
Bel Air Classics
Dmitri Tcherniakov returns to the source of the impossible love of Tristan and Isolda. A great teamwork this show comes from Staastoper unter den Linden.
Act I entices no downtime in the Grand Voyageur lounge on the luxury liner where Marke invites the leaders of his company. The type of weather peaceful sea and happy trip displayed on a control screen… It all started under the very best management for Wagnerian heroes raised in costumes designed by Elena Zaytseva. Strongly invested in directing the millimeter actors, the performers were immediately attracted. Sucking the filter, which had never happened before, was a great moment of rejoicing: the heroes under substance, freed from all taboos, laughed out loud, ready for great love.
II, in Marke’s living room covered in forest wallpaper, is less interesting: Tristan plays like an overly excited child with Isolde, whom he hypnotizes; Mark, surrounded by even more chilling Chernakovian extras, speaks the first words of his monologue to Melot and not to Tristan, who has not even been wounded in the traitor’s death. What will Tristan die for?
III replied: Tcherniakov read carefully the hero’s highest monologue, that ofOld -fashioned white (the old grave song), the one in which Tristan tells how Desire brought Death. Tcherniakov immerses Tristan in another wallpaper, Karéol’s, to reveal on the face his dying childhood: the father gave birth and died; the mother gave birth and died. Tcherniakov reads it correctly: Tristan is certainly not fit for love. Even without Marke, even without the potion, it would never work. We’re talking about Liebestod in Isolda. Cherniakov emphasizes the Liebestod by Tristan.
Anja Kampe and Andreas Schager are remarkably natural in this Tristan and Isolde certainly the most human seen to date. Scenes alone, they are always moving. Aside from the fact that they owned the crushing way in their respective roles (he was an indisputable Heldentenor; he was an incendiary hardliner), away from Schnorr von Carosfeld’s mates, they eliminated all that stereotypes. The goat jumping at first makes you forget that the show is in principle more than human. The subtle emotion of the second, consistent with that of Iréne Theorin of Bayreuth with Marthaler, touched the heart. With a silky vocal health, an interesting beauty, Ekaterina Gubanova’s Brangäne caught everyone’s eye: we spent part of our time wondering what part was played by the wrong storytelling. Until Tcherniakov responded with a plan in his arm that at last, he passed without warning under Marke, composed of the frozen fear befell the business owners, to a Stephen Milling near ideal. Boaz Daniel, Kurwenal is ready for anything (rent on set, almost full action, an oboist from the Berlin Staatskapelle Orchestra to accompany his English horn to the spleen of his crippled love friend), completed this beautiful distribution where we also noticed Melot. filled with the jealousy of Stephan Rügamer and already, before Aix 2021, the Young Sailor and the Pâtre of Linard Vrielink.
The DVD allows you to get as close as possible to Tcherniakov’s questioning dramaturgy, starring Daniel Barenboim. More than forty years of work (the Tristan de Ponnelle, de Müller, de Chéreau!) resulted in this direction of the patient (over four hours), covering and illuminating, at a remarkable depth. The Staatskapelle Berlin, beautifully captured, elevates the black murmur of the devastating masterpiece. Backpack travel Parsifal of Tcherniakov we did not want to go back on the road with him. It was different from the boat trip he had imagined Tristan and Isolda.
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