Name: Tristan und Isolde
Start: 2021-05-20T00:00:00.000Z
End: 2021-08-28T00:00:00.000Z
Location: Opera House

Admin

Organization

Singer

Tenor

Simon O'Neill

Tristan

Soprano

Miina-Liisa Värelä

Isolde

Mezzo-soprano

Karen Cargill

Brangaene

Baritone

Shen Yang

Kurwenal

Bass

John Relyea

King Mark

Neal Cooper

Melot

Stuart Jackson

A shepherd

Voice of a young sailor

Conductor

Robin Ticciati

Stage director

Nikolaus Lehnhoff

Set designer

Roland Aeschlimann

Costume designer

Andreas Schmidt-Futterer

Lighting designer

Robin Carter

Others

The Glyndebourne Chorus

Orchestra

London Philharmonic Orchestra

Glyndebourne

Tristan und Isolde -  (Tristan and Isolde)

United Kingdom

Opera House

Ebert Room

Tristan und Isolde Wagner,Richard

Tristan and Isolde

Approved

"You have to dive into this sound world" - Stephen Fry shares his love for  Wagner's Tristan and Isolde with Alexandra Coghlan.

A semi-staged performance of Tristan und Isolde is part of Glyndebourne Festival 2021. 

Find out more: https://www.glyndebourne.com/events/t...

Wagner’s Tristan und Isolde (1859) is arguably the most influential work not just in the history of opera but classical music. Often described as the start of modern music, it reinvented the rules of harmony, becoming a touchstone and centre of musical gravity, either drawing composers towards it in helpless imitation, or forcing them to fight to reject it. No one could be neutral in response to it.

Bound in marriage against her will, princess Isolde resolves to end her life along with that of her enemy, the knight Tristan. But when a love potion is substituted for poison, the two are drawn into an all-consuming, obsessive love affair that destroys everything – and everyone – in its unstoppable path.

For the first time here harmony and psychology are one. The whole score is a metaphor for unfulfilled desire, unfolding in a single continuous musical gesture, a ‘terrible and sweet infinity’ as Nietzsche described it. Harmonic tension established in the famous ‘Tristan Chord’ in the opera’s opening bars is never fully resolved until the end – a deferral of gratification that gives the opera its charged, uneasy sense of momentum, of desire always yearning (but never quite attaining) fulfilment.

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