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Opera Review
When the Seattle Opera presented Wagner, expectations were high. Thanks to the company’s long history with the composer’s monumental work, fans prepared for the opening night of “Tristan and Isolde.”
Indeed, a top-notch performer and orchestra played top-notch music on Saturday night. But few could have predicted just how gorgeous this “Tristan” (until October 29th) would look—how a clever use of projection on stage would transport viewers into the inner world of its two protagonists. Wagner operas are known for their lengthy dialogues and monologues, in which not much action takes place. (There’s an old joke about the Wagner stage director’s only suggestion: “Stand there and sing.” Not this time!)
Stage director Marcelo Lombardro and set/video designer Diego Silliano used this remarkable production to create a game-changing “Tristan”. Here, the characters’ worlds change around them, and video projections surround the stage in ever-changing locations – from stormy seas to starry skies and beautiful forest vistas. At a pivotal moment, the platform lift lifts Tristan and Isolde literally into their own world, surrounded by vivid clouds and stars as they cheer “Night of Love”. Breathtakingly lovely; we see the universe really change around these two singers as they are wrapped in a different and beautiful reality that reflects how they feel.
What a boon this development could be, allowing opera companies to change entire scenes in seconds to reflect how the singers are feeling and singing. This is probably the most beautiful and effective direction in opera set design; it will be interesting to see how this trend develops. Big cheers to lighting designer Horacio Efron and video animator Matias Otálora.
Fortunately, the singers and orchestra, under the direction of conductor Jordan de Souza, also ensured that musical values ​​were paramount. The orchestral overture in Act III is particularly good, with a warm and rich symphony that ushered in a tragic ending.
From her first scene to the final “Liebestod” (“Love and Death”), Mary Elizabeth Williams sang her first “Isolde”, Its authority and brilliance illuminate one of the most challenging roles in the opera’s repertoire. Her voice has unwavering strength and weight to the character, but she also has a subtle ability to “turn down” that intensity to convey tenderness and uncertainty. Williams is a compelling actor, whether she’s against arranged marriages or ecstatically in love with Tristan.
Stefan Vinke, a seasoned Wagnerian who made his Seattle debut in 2013’s “The Ring,” is an authoritative Tristan; even in Act III’s ultimate challenge, he delivers with great energy and Endurance sings. His final scene, when Tristan fades in death after recognizing Isolde, is moving and ends with Williams’ radiant “lie”.
The supporting roles are excellent. Amber Wagner is a first-rate Brangäne, powerful but nuanced; she is the prime mover of a secret plot to supply Tristan and Isolde with a deadly love potion. Warm-sounding bass Morris Robinson provides a moral compass and proper gravity as King Mark (Isolde should marry him). His dignity and decency underscore the pain of their betrayal. Ryan McKinney’s loyal, resonant Kurwenal was an important element throughout the production. Viktor Antipenko works well as the villain Merlot.
The unsung heroes of any Wagnerian opera are the orchestra players who struggled for more than four and a half hours for that huge and glorious score. Hats off to all of them, especially Stefan Farkas’ eloquent English horn, whose solo passages add an air of longing and heartbreak.
Not all audience members have the stamina of a Wagner actor. The house is littered with empty seats when the third act begins. The early leavers missed some of the most beautiful and heartbreaking moments in the production.
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