Tristan und Isolde
Met Opera Live
I am sick to death of productions of Tristan und Isolde which leave me bewildered, alienated, distracted from the work and its significance, unable to concentrate on the music. I haven’t seen a Tristan which didn’t do all these things for many years, and had vowed never to go to another, until the Met advertised its new production, with a starry cast and with Simon Rattle, a conductor who at his best, as he has been recently, is quite wonderful, even revelatory.
My hopes were soon dashed. Musically, because the Prelude was so restrained, and turned out to set the tone for the whole thing: Rattle was in the mood to hold everything back until the last few minutes of each act, so that he even went in for a chamber-type approach to much of the music, and the superb Wagnerian storm and toss of the orchestra, in such thrilling passages as Isolde’s narration and curse, went for very little.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in