The Metropolitan Opera: Tristan und Isolde

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John M. 36m The Met's Tristan und Isolde was an experience not many can say they have seen. It's 4+ hours of music and not for the feint of heart. The principal singers were, on the whole, marvelous. The sets and costumes were, supposedly, symbolic of something, but what it symbolized was not easily deduced by the viewer. The staging was perplexing at best and confusing most of the time. Even with a cursory explanation from the director, it left the listener still in the dark as to what it all meant. The singing from Michael Spyres and Lise Davidsen was really stunning. This was Spyres' first attempt at the demanding Tristan and he acquitted himself well. In the final moments of the big duet with Isolde in the 2nd act, he seemed strained and taxed, given it is high and quite loud. His upper register seemed to lose its blossom at the top of the range. I was impressed with his middle and upper middle voice range where Tristan's music seems to be centered. I have heard Lise Davidsen in the opera house and it is quite an impressive instrument in size. She really sang beautifully. And after having given birth to twins a couple months ago, made her accomplishment that much more astounding. Thomas Konieczny (Kurwenal) and Ekaterina Gubanova (Brangane) also sang well, especially Gubanova. Brangane is a difficult role for either a mezzo soprano or a soprano since the role lies quite high at times and is usually in the mezzo range. Konieczny has a tendancy to shout, but then, the role of Kurwenal is not a very legato part. I was a little disappointed in Ryan Speedo Green as King Marke. It was hard to delineate pitch at times and I fear that his upcoming role of Wotan in the Met's new Ring will be his undoing. I pray not. I found it distracting when he over-enunciated the German text at the softer parts for some kind of effect lost by me. Still, it's a good instrument. I must take to task the conductor of the evening. Yannick Nezet-Seguin is the latest music director at the Met and he seems to be very full of himself. It was not more evident in the louder passages of the score when the orchestra covered the singers - almost at every fortissimo. Yes, Wagner orchestras are one of the most important aspects of his creations, but NEVER at the expense of the singers. Seguin seemed to not care about his singers and covering them with the superlative Met orchestra is a crime. Because of the direction, both musical and stage, I give it a 3.5, but in deference to the singing, I rate it 4 stars. See more Andrew E 55m A magnificent production! See more T F 2h Wonderful opera. What I disliked was that when the opera was supposed to start the screen went black, we missed the first 15 minutes, which includes the overture and sets the stage for the rest of the opera. After repeated complaints we got the opera back but for the first 20 minutes the ceiling lights were on. A wonderful opera with a troubled so so beginning. See more Kethly Cetoute 2h There was no soundtrack, no audio the entire show. The video kept breaking. I am very disappointed this time. See more Mary G 3h Perfect for a weekend afternoon See more Arthur B 3h Fantastic singing, a divine orchestra, a new production that didn't get in the way and at times enhanced the story. Not so sure about popping a baby out on stage just prior to the Liebestod it sure provides a new take on postpartum depression! See more Read all reviews

The Metropolitan Opera: Tristan und Isolde

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