STAGING a Wagner opera is always a major undertaking and so I suppose that once it is in the bag and is not too awful, economic prudence demands it is given a long shelf life.
So we settled in for a night of Wagnerian magic in those uncomfortable WMC seats and began the intoxication that is Tristan and Isolde.
The set is supposed to be some sort of psychobabble about a set within a set, making things smaller to make them bigger. Whatever.
Just think of a grey picture frame and a skateboard ramp.
The production slightly improves when we move to Act Two (and can actually see all of the players) although the skateboard ramp remains. Do I know or care why? No. For Act three we have a sheet of stone jutting out of that picture frame. I think a bit of it crumbled under Tristan reminding us of the flimsiness of Yannis Kokkos’ drab production.
From the opening scene it was clear that in Ann Petersen we have a gorgeous Isolde singing and acting with power, sharpness and richness of interpretation. The night belonged to the utterly compelling Isolde who held our attention from the passionate Act One curse to the ecstasy of the Liebestod that closes the opera.
The Canadian Ben Heppner has had a turbulent few years with cancellations, shaky reviews of some seemingly equally shaky singing. But here he gives his audience a robust, paced and at times thrilling Tristan, with contrasting tones and control and plenty of chemistry with his Isolde.
Matthew Best is drawn as rather an insipid character but there was nothing bland in the singing from this cool and creamy blissful bass.
Phillip Joll’s Kurwenal shows the right level of gravitas while Isolde’s own flawed servant Brangane was sung with eloquence by Susan Bickley.
This time round for the 19 year old show, Lothar Koenigs conducted and he did maintain the challenging balance between pit and stage while bringing luxuriousness to this most sublime of scores. The orchestra is outstanding in this marathon of stamina and concentration, with the woodwind soloists alone worthy of their own curtain call.
The evening may last for five hours but with sumptuous playing of this most richly woven musical fabric and empathetic singing and acting from an electrifying and empathetic Isolde, the night will float away.
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