Tristan And Isolde All At Sea In Bayreuth

Every summer, the Bayreuther Festspielhaus proudly displays a white flag with a large red W, signifying the exclusive performance of Wagner's operas.

Opera at its best is a fantastic spectacle that embraces art, theatre, music, and philosophy rolled into one -something that Bayreuth does well. The messages it conveys are as relevant today as they were in Mozart's day or Wagner's era. And none is better placed to tackle the philosophical issues than the Bayreuth meister himself. That’s why it is essential that everything works in harmony and is able to cross boundaries: young, old, politics, death, and love.

The program book contains a conversation about Tristan and Isolde - Semyoin Bychkov, the conductor, says: 'Wagner is a phenomenal psychologist, not only from the perspective of the Tristan Story... but in the way he understood human nature and its complexity, in the way he developed this complexity of human nature in each of his characters. And that’s what makes it so fascinating.'

Thorleifur Őrn Thornarrson’s set didn’t fit into the equation that makes a production good, let alone excellent. One could argue that it wasn't necessary: with so much walking or standing in the endless expanse of dry ice and a predominantly dark stage, it was challenging to discern a shift in physiognomy. The back storyline is difficult to grasp, and some good ideas went unrealised. The love potion is played down, and I thought Melot had stabbed Tristan. At times, the lighting was effective, and while the searchlight in the third act was blinding, it wasn't as distracting as the small white light on a desk to the right of the stage.

Was the set necessary? It didn't add much; it was the music and singing that were captivating, and the cast conveyed the plot through their characters' psyches.

Perhaps I wanted a little more eroticism. We encounter Tristan and Isolde, who seem to have little in common. They even have an argument, and she slaps him.

The Prelude, with its hushed beginning and Tristian chord leitmotif heard throughout the opera sets the scene with the strings building in intensity, the cellos expressing grief by rising in minor sixths, and the oboe creating a sense of desire. It is immensely powerful.

The curtain opened gracefully towards the end of the Prelude, heralding a set that resembled a church belfry rather than the ropes of a gloomy boat. In the second act, the set takes on a more eerie resemblance to a scrap yard. Though I suppose it did feel sepulchral. And then there's Isolde, in her wedding dress, with words scribbled all over it. Even if we had the chance to read the words, would they illuminate the dress sufficiently? Isolde is obsessed with the dress, pummelling at it—perhaps she took the ropes for a boxing ring.

However, the singing is sublime: Andreas Schager's Tristan is characterful, his voice strong, and he carries the suffering superbly well. The third act, where the tenor part sings the solo for nigh on 40 minutes, is demanding, surely one of the longest tenor operatic solo parts, and his energy, endurance, and fortitude to maintain the power and the demands on the voice, to the end, paid off. It’s all full tilt for Schager.

By the third act, Camilla Nylund had won me over. I thought there were times in the first act where she was overpowered in the duets, but overall she cultivated intimacy. Christa Mayer was excellent as Brangäne; the mezzo-soprano, had a richness and expressiveness to her voice that was wonderful to hear. Günther Groissböck, portraying King Marke, added an emotional touch, while baritone Olafur Sigurdarson, portraying Tristan's faithful servant, showcased his powerful voice.

The Festspielorchester under 71-year-old Semyon Bychkov’s direction, was never at a loss for musical colour and a voluptuous sound. The plangency of the slow and steady Prelude was sublime; the individual instruments were crystalline, the pianissimos were wonderfully controlled, and the timbres combined so well in the unique acoustic of the Festspielhaus. His interpretation for the Liebestod was sapient.

Despite the set, the performance successfully conveyed some of the emotion, and Bychkov's understanding of the final moments brought the opera to its conclusion enthusiastically appreciated by the audience.