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Seen and Heard Opera Review
Wagner, Tristan und Isolde: (revival production) Soloists, Chorus and Orchestra of Welsh National Opera, Mark Wigglesworth (conductor) Wales Millennium Centre, Cardiff 07.10.2006 (BK)
Cast:
Conductor: Mark Wigglesworth
Encouraged by reviews of the premiere, which I was unfortunately unable to attend, I looked forward to this performance eagerly and was quite right to do so. Mark Wigglesworth's thoughtful reading was altogether masterly, characterised by exemplary attention to detail at every turn, a fine sense of impetus throughout and excellent balance between orchestra and singers. As an exposition of the riches of both this fascinating score and of the capabilities of WNO's excellent orchestra this would be hard to beat.
There is little to say about Yannis Kokkos' production (dating from February 1993) except that it is unfussy, with simple sets , straightforward costumes and lighting. It is by no means revelatory in terms of uncovering textual profundities but it is easy on the eye and allows audience and cast alike to concentrate on the music without any of the distractions that characterised last season's WNO Flying Dutchman.
While Peter Watson's direction borders on the minimalist - there's very little movement on stage or physical interaction between the characters, much (indeed most) of the singing is excellent. Alfred Reiter's King Marke had the same beauty of tone that impressed so strongly in his last appearance at WNO, as Gurnemanz in 2003, and Robert Hayward made a strong and supportive Kurwenal. Nothing at all to complain about with either of these performances and a good deal in fact to enjoy thoroughly; these were performances typical of the high quality that WNO offers so routinely these days and which is often far too easy to take for granted.
Susan Bickley was a fine Brangäne, singing with easy fluidity and acting very sensitively to provide a perfect foil for Annalena Persson's Isolde, whose performance as Senta I had liked more than many. There is no question now that Ms Persson is destined for a distinguished career singing Wagner heroines and in the first two Acts she carried off her role with easy authority and abundance of powerful yet well controlled tone. That she is not yet in quite the same class as her compatriot Nina Stemme however, was shown in Act III where the sheer drama and vocal stamina required for this most demanding role was somewhat lacking and where a sense of strain began to be noticeable. Nonetheless, this was great Wagner singing which is likely to develop into something very special over time.
John Mac Master's Tristan sadly, was not in the same league. Troubled by faulty intonation for most of the evening, he gave his best acting performance in Act III where Tristan's madness was graphically portrayed but where his tendency to swoop up to pitch was most cruelly exposed. There was also a distinct sense on occasions that he isn't truly familiar with the score as yet.
With this limitation out of the way however, this was a very great evening of music making. Wagner himself wins the palm in every production of course, but on this occasion the victory was a win on points. Mark Wigglesworth, his orchestra and the cast gave 'The Master' a spectacular run for his money.
Bill Kenny
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