With Tristan und Isolde La Scala opened its 07/08 new in a new production staged by Patrice Chéreau. In this collaboration Daniel Barenboim and Patrice Chéreau (of whom Daniel Barenboim said: "In Chereau, I found my ideal partner“) fulfil a Wagnerian dream they had been cherishing since 1980. The opera hadn’t been staged at La Scala for over 30 years and was a triumph with over 20 minutes of applause.
Tenor Ben Heppner and soprano Jane Eaglen perform two of opera's most demanding roles in a 1999 production of “Tristan und Isolde,” Richard Wagner's titanic tragedy. Based on a Celtic myth, the 1865 drama charts the passions of the Irish queen Isolde and the Cornish knight Tristan. He's transporting her, against her will, to marry his uncle, King Marke (bass Rene Pape), but the two drink a potion that will ensure both their undying love for each other–-and their deaths. James Levine conducts the Met Orchestra.
This production of Richard Wagner’s “Tristan und Isolde” was recorded during the Deutsche Oper Berlin’s great tour to Japan in 1993. Directed by Götz Friedrich and conducted by Jiří Kout, this interpretation of the adulterous love between the Cornish knight Tristan and the Irish princess Isolde was a great success. Wagner’s composition of “Tristan und Isolde” was inspired by his love affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer. Widely acknowledged as one of the peaks of the operatic repertoire, this music drama was notable for Wagner’s advanced use of chromaticism, tonality, orchestral colour and harmonic suspension.
"…Thanks to Marek Janowski's inspiring direction, the singers' commitment and the peerless sound quality, this recording sets a new benchmark for Tristan und Isolde in the 21st century and undoubtedly it is one that all Wagnerites will wish to investigate. Unreservedly and enthusiastically recommended." ~SA-CD.net
This production of Richard Wagner’s “Tristan und Isolde” was recorded during the Deutsche Oper Berlin’s great tour to Japan in 1993. Directed by Götz Friedrich and conducted by Jiří Kout, this interpretation of the adulterous love between the Cornish knight Tristan and the Irish princess Isolde was a great success. Wagner’s composition of “Tristan und Isolde” was inspired by his love affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer.
"In his 60s, Domingo remains a marvel. Indeed, he gives us a performance of Tristan, carefully studied, heroically sung, sympathetically interpreted, that truly crowns his career as a tenor and recording artist. (…) Even more remarkable is the Isolde of Nina Stemme. As she showed at Glyndebourne a couple of years ago, she offers the most telling Isolde since Nilsson's at Bayreuth for Böhm; (…) To near-perfection she is the angry, frustrated woman of Act 1, the besotted lover of Act 2 and the transfigured Isolde of Act 3. Nothing in the long and taxing role escapes her notice, yet the detail is never exposed at the expense of the portrayal as a whole. (…) Mihoko Fujimura, Bayreuth's current Fricka and Waltraute, not only has a lovely voice but - like her mistress - never misses a point in the text. Hers is a lighter voice than that of most Brangänes (…). Over all presides the alert and commanding Pappano. This is not an interpretation in the timeless, deep vein of Furtwängler, more in the dramatic mode of Karajan in 1952 and Böhm. We are here concerned with a living drama, an aching tragedy played and played out through every bar with a pulsating energy tamed by a thoughtful mind."Alan Blyth, Gramophone Magazine / September 2005
‘Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth’s amazing acoustics. Robert Dean Smith is now a fine Tristan with a really beautiful voice. …Robert Holl made a moving King Marke, his magnificent bass nobly used. Some of the most beautiful singing came from Clemens Bieber's Young Seaman at the beginning.’ (The Stage)