Name: Tristan und Isolde (reduction)
Start: 2023-06-10T00:00:00.000Z
End: 2023-06-10T00:00:00.000Z
Location: Slovak National Theatre Historical Building

Organization

Conductor

Peter Valentovic

Stage director

Anton Korenči

Dramaturge

Stanislav Trnovský

Lighting designer

Róbert Farkaš

Singer

Soprano

Eliška Weissová

Isolde

Tenor

Titusz Tóbisz

Tristan

Bass

Michal Onufer

König Marke

Mezzo-soprano

Myroslava Havryliuk

Brangäne

Baritone

Martin Kovács

Kurwenal

László Havasi

Melot

Maksym Kutsenko

Stimme eines jungen Seemanns

Róbert Šudík

Ein Steuerman

Matej Marušin

Ein Hirt

Štátne divadlo Košice

Orchestra

Opera Orchestra of the Košice State Theater

Tristan und Isolde (reduction) -  (Tristan and Isolde (reduction))

Bratislava

Slovakia

Slovak National Theatre Historical Building

Tristan und Isolde (reduction) Wagner,Richard

Public

Tristan and Isolde (reduction)

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Contralto

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Tristan and Isolde is Richard Wagner’s masterpiece. The opera is considered the paramount work all the opera houses around the world wish to do. The Opera Ensemble of ŠDKE led by the chief conductor Peter Valentovič presents scenes from the opera.

“It was the same time as I was experiencing the peak or near peak of my intense passion for the art work of Richard Wagner. I said passion, as more simpler words such as love and enthusiasm wouldn’t faithfully describe this relationship. Those years of your deepest devotion are often the years of increased excitability, which was in my case to a certain point emphasised by critical reading. And devotion combined with deep understanding, that’s intense passion. The most hard-won and prolific experience of my early years was that passion is clear-sighted, otherwise it is not worthy of its name. Blind love, nothing but ceremonial, praising love – it is beautiful simplification.”

"Why this work, in my most personal view overcrowded with these props, should mesmerize all mankind and save the world? Only gods know that. It is ever-present in Wagner’s boasting, in his permanent self-blessing, constant soliloquy, in his need to comment on everything, in unspeakable immodesty which is the foreshadow of Hitler. Naturally, in Wagner’s work we see Hitler a lot – sure, you omitted that, you had to omit that – the work to which you serve, how could you link it to Hitler! It was linked to him for quite a long time.” Thomas Mann on Richard Wagner

Wagner’s work Tristan and Isolde influenced both the 19th century musicians and music development in the 20th century. Many books and publications were written on this opera, the Tristan chord, in the second measure of overture, has been studied by musicologists.

Wagner also strongly influenced his contemporaries and successors in other arts – we see German writer Thomas Mann in the first place, a Nobel Prize Laureate of 1929. He was strongly affected by both Wagner’s music and his philosophy at the same time. His relationship to the famous composer varied from youthful zeal to scepticism in later years. Nevertheless, he kept loving his narcotic music in his old age.

Reading Thomas Mann’s and his son Klaus Mann’s work while simultaneously listening to Wagner’s music from Tristan and Isolde uncovers the impact of the work on near and future generations and extremely complicated relationship between the father and son - Klaus who was, just like his father, writer, a representative of the new generation and rebel who ended his life by suicide in 1949.

R. Wagner: Tristan and Isolde

Overture
Young mariner’s singing 'Westwärts schweift der Blick'
Isolde’s monologue from Act I. 'Wie lachend sie mir Liedersingen'
Interlude to Scene 5, Act I.
Love duet from Act II. 'O sink hernieder, Nacht der Liebe'
King Marke’s monologue from Act II. 'Tatest du's wirklich'
The end of Act II. 'O König, das kann ich dir nicht sagen'
Overture to Act III.
Shepard’s singing, English horn solo
Isolde’s Love Death „Mild und leise wie er lächelt“
The texts from the works and letters by Thomas and Klaus Mann:

Schopenhauer, Wagner, Nietzsche (Thomas Mann: Betrachtungen eines Unpolitischen)
On Richard Wagner’s Art (Thomas Mann: Über die Kunst Richard Wagners)
Thomas Mann’s letter to German writer Carl Maria Weber of 4 July 1920
Wagner without ending, letter to Emil Preetorius of 1949 (Thomas Mann: Wagner und kein Ende)
Death in Venice (Thomas Mann: Der Tod in Venedig)
Friedrich Hölderlin: poem Sokrates and Alkibiades
Ricki Hallgarten – radicalism of heart (Klaus Mann: Ricki Hallgarten – Radikalismus des Herzens, essay)eng

English

Tristan a Izolda patrí k vrcholným dielam Richarda Wagnera, táto opera je považovaná za pomyselný Olymp, na ktorý operné divadlá na celom svete môžu dosiahnuť. Opera ŠDKE pod taktovkou šéfdirigenta Petra Valentoviča uvedie scény z opery.

„Bolo to v tom istom čase, keď vrcholila alebo sa blížila k vrcholu moja náruživosť k umeleckému dielu Richarda Wagnera: povedal som ‚náruživosť‘, lebo jednoduchšie slová ako ‚láska‘ a ‚nadšenie‘ by verne tento vzťah nevystihli. Roky, keď je človek schopný najväčšej oddanosti, nezriedka bývajú aj rokmi najväčšej psychologickej vzrušivosti, ktorú v mojom prípade ešte väčšmi vyostrovalo v istom zmysle kritické čítanie; a oddanosť spolu s poznaním – práve to je náruživosť. Vnútorne najťažšou a najplodnejšou skúsenosťou mojej mladosti bolo zistenie, že vášeň je jasnozrivá – alebo vôbec nie je hodná svojho mena. Slepá láska, nič iné ako slávnostná, velebiaca láska – krásne zjednodušenie.“

„Prečo práve toto dielo, aj pri najosobnostnejšej syntéze preplnené týmito rekvizitami, by malo uchvátiť svojou tvorbou celé ľudstvo a spasiť svet, vedia len bohovia. Je to neustále prítomné vo Wagnerovom chvastúnstve, vo večnom sebablahorečení, v neustálej samovrave, v potrebe ku všetkému sa vyjadriť, v nevýslovnej neskromnosti, ktorá je predobrazom Hitlera, vo Wagnerovi je prirodzene veľa z ‚Hitlera‘ – iste, to ste vynechali, museli vynechať – ako by ste mohli dávať dielo, ktorému slúžite, do súvislosti s Hitlerom! Dosť dlho sa s ním spájalo.“ Thomas Mann o Richardovi Wagnerovi

Wagnerovo dielo Tristan a Izolda ovplyvnilo nielen hudobníkov 19. storočia, ale i vývoj hudby v 20. storočí. O tejto opere boli napísané mnohé knihy a publikácie, samotný „tristanovský akord“, ktorý zaznie v druhom takte predohry, sa stal predmetom skúmania nielen muzikológov.

Nemenší vplyv mal Wagner na svojich súčasníkov i nasledovníkov v iných sférach umenia – na prvom mieste tu vidíme nemeckého spisovateľa Thomasa Manna, nositeľa Nobelovej ceny z roku 1929, ktorý bol ovplyvnený nielen Wagnerovou hudbou, ale i jeho filozofiou. Jeho vzťah k slávnemu skladateľovi prešiel od mladíckej vášne až po neskoršiu skepsu, ale ani v starobe jeho narkotickú hudbu neprestal milovať.

Čítanie z diel Thomasa Manna a jeho syna Klausa Manna odkrýva s Wagnerovou hudbou Tristana a Izoldy nielen dosah tohoto diela na blízke i budúce pokolenia, ale i nanajvýš komplikovaný vzťah otca so synom Klausom, ktorý bol rovnako ako otec spisovateľom, predstaviteľom novej generácie i rebelom a ktorý ukončil svoj život samovraždou v roku 1949.

R. Wagner: Tristan a Izolda 

Predohra 
Spev mladého námorníka, „Westwärts schweift der Blick“
Monológ Izoldy z 1. dejstva, „Wie lachend sie mir Liedersingen“
Medzihra k 5. scéne 1. dejstva
Ľúbostný duet z 2. dejstva, „O sink hernieder, Nacht der Liebe“
Monológ kráľa Markeho z 2. dejstva, „Tatest du's wirklich“
Záver 2. dejstva, „O König, das kann ich dir nicht sagen“
Predohra k 3. dejstvu
Nápev pastiera, sólo pre anglický roh
Izoldina smrť z lásky, „Mild und leise wie er lächelt“
Texty z diel a listov Thomasa a Klausa Mannovcov:

Schopenhauer, Wagner, Nietzsche (Thomas Mann: Betrachtungen eines Unpolitischen)
O umení Richarda Wagnera (Thomas Mann: Über die Kunst Richard Wagners)
List Thomasa Manna nemeckému spisovateľovi Carlovi MariaWeberovi zo dňa 4. júla 1920
Neuzavretý Wagner, list Emilovi Preetoriusovi z roku 1949 (Thomas Mann: Wagner und kein Ende)
Smrť v Benátkach (Thomas Mann: Der Tod in Venedig)
Friedrich Hölderlin: báseň Sokrates a Alkibiades
Ricki Hallgarten – radikalizmus srdca (Klaus Mann: Ricki Hallgarten – Radikalismus des Herzens, esej)

slovenčina

Tristan and Isolde (reduction) by Wagner, Richard, šeš 10 bir 2023, Nuo (2023/2023), Režisierius Anton Korenči,, Dirigentas Peter Valentovic, Slovak National Theatre Historical Building, Bratislava, Slovakia

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