Roland Aeschlimann / Anmeldelser

Seeing Isolde sing her Verklärung (Transfiguration – ‘Mild und leise’) standing, centre stage and spotlit, was certainly in line with the production’s aesthetic: it is, of course, all her world then, as the human world recedes, and she ecstatically misreads Tristan’s post-mortem muscle stiffening as a ‘laugh’ (‘… wie er lächelt’). Tristan found himself recumbent for much of the final act on what looked like sheepskin until the delirium became too much for stasis. Memorable takes, both.

Along with that colour, soul and unflagging energy, he knows how to manipulate Wagner’s immense canvas, when to drive the music on through high moments and manage gradual transitions, while his heart-warming rapport with the London Philharmonic bodes well for the future.