Tristan Und Isolde
Richard Wagner’s TRISTAN UND ISOLDE is arguably the most influential opera since Monteverdi established the art form in the Seventeenth Century. The famously unresolved “Tristan Chord” has shocked, amazed and intrigued auditors since the opera’s premiere. And Wagner’s audacious and inventive harmonic structure provides the foundation for, not only modern opera, but all modern music.
Wagner’s libretto also pushed the boundaries of conventional entertainment by immersing itself in the death-obsessed eroticism of its titular hero and heroine. Strangely though, for a work of art as transgressive and transformative as TRISTAN, the dramatic action is fairly static. The fatal shared drink in the First Act, a brief duel in the Second, even the near complete carnage in the Final Act appear almost as background to Wagner’s Schopenhauer-influenced examination of the misery provoked by unfulfilled desire and the long-awaited peace that can only be attained through death. Wagner gambles that the overwhelming beauty and power of his music will engulf the listener and banish any need for traditional narrative. Genius that he is, he succeeds.
Los Angeles Opera has carefully revived its acclaimed twenty-year old production of TRISTAN designed by David Hockney. Personally supervised by the artist, the production looks as fresh and vibrant as ever. Hockney’s surreal settings and boldly saturated colors provide an almost whimsical counterpoint to Wagner’s insistently obsessive lovers.
Wagner’s focus on discourse over drama makes TRISTAN a fiendishly difficult opera to direct. Thor Steingraber’s solution, particularly in the First Act, was to fall back on the kind of vapid operatic posturing that the Marx Brothers derided in the Thirties. Both the singers and the opera benefited from moments of physical stillness found in the final two acts.
John Treleaven made his company debut as Tristan and, if he doesn’t have the opulent tone of a Melchior, his voice cuts through Wagner’s dense orchestration and remains fresh and vital through all three punishing acts. Linda Watson’s Isolde is powerfully sung and authoritative but she has appeared to better dramatic effect under more challenging direction. Together they sang with grace and conviction but suggested little of the ecstatic nature of their union. Both are scheduled to appear in Los Angeles Opera’s upcoming Ring Cycle.
Kristinn Sigmundsson proved a regal and commanding King Marke while Juha Uusitalo unveiled a handsome voice and a singularly sympathetic Kurwenal. Lioba Braun’s well-sung Brangane was diminished by fussy overacting while Brian Mulligan’s Melot revealed a sturdy and compelling voice we hope to hear more of.
James Conlon’s work in the pit showed his devotion and deep knowledge of the work. Ravishing color, eloquent intensity and a sure feel for the pace of this epic masterpiece brought Wagner’s vision to stirring life.
Dorothy Chandler Pavilion January 19 – February 10, 2008
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