SEEN AND HEARD INTERNATIONAL

Other Links

Editorial Board

Google Site Search

Internet MusicWeb

Wagner, Tristan und Isolde:  at the Royal Swedish Opera, Stockholm 24.10.2008 ( GF)

Directed by Hans-Peter Lehmann
Sets and costumes: Olaf Zombeck
Lighting design: Linus Fellbom

Cast:

Tristan – Lars Cleveman
King Marke – Lennart Forsén
Isolde – Nina Stemme
Kurwenal – Gunnar Lundberg
Melot – Ulrik Qvale
Brangäne – Marianne Eklöf
A shepherd – Niklas Björling Rygert
Helmsman – Mikael Axelsson
A young sailor – Niklas Björling Rygert

Royal Swedish Opera Male Chorus and Orchestra / Gregor Bühl

Nina Stemme as Isolde

This production of Tristan und Isolde was originally premiered in March 2004 when Seen and Heard’s Editor Bill Kenny saw it and was enthusiastic, not only about Nina Stemme’s singing of Isolde but about the whole thing (see review). In June that year Naxos recorded the opera with the premiere ensemble but with Hedwig Fassbender singing Isolde, since Nina Stemme was under contract with EMI and had recorded the role opposite Placido Domingo at about the same time. I never saw the original production but I reviewed the Naxos CD set and found a lot to admire (see review).

The reprise premiere of this production was on 11th October and  I saw the fourth performance in this round. There are only two more performances scheduled this season but hopefully it will be back again later, and anyone with a special liking for this opera should keep an eye on Royal Swedish Opera’s calendar and book a flight as soon as it appears again. Why? Because this is a production of Wagner’s masterpiece which is more worth seeing and hearing than any other production that I have ever seen.

The sets are sparse, minimalist if you like. A metal construction in the background, foldable in several directions, represents the stem of the ship in Act I and King Marke’s castle in Act II but in that act it can also be seen as an enlarged human heart with pulsating blood to illustrate the feelings between Tristan and Isolde. In the third act something looking like the distorted remnants of this construction constitutes the walls of Kareol in dilapidation. But more important is the evocative lighting design by Linus Fellbom which sensitively follows the unfolding of the drama. The sudden impact of the love potion is spectacularly illustrated, the stage is transformed into a romantic seascape and when the two lovers embrace they are lit in flaming red. By a wide margin this is the most beautiful production of this opera I have ever seen and it is also the most human and warm. This was my third Tristan und Isolde this year and whereas the productions in Tallinn (see review) and at Bayreuth (see Jim Pritchard’s review) were strangely lacking in human contact, the Stockholm production literally seethes passion. Hans-Peter Lehmann has – as all stage directors should do – listened to Wagner’s music as well as having read the libretto. And where else do we find more passion? There is such natural conformity between text, music, sets, lighting and action in this production that it almost  seems as if they have all been created simultaneously.

On top of all this,  the singing is on the same elevated level. Nina Stemme is of course the most outstanding Isolde in the world, as readers who have heard the EMI CD-set or seen the Glyndebourne DVD-set will know. As a matter of fact she was even more phenomenal on the evening I heard her. The beauty of the voice, the unforced singing at all dynamic levels, the myriad of nuances, the warmth of tone and brilliant fortissimo were all astonishing: and to all of this can be added her sensitive and assured acting.

Ms Stemme is surrounded by equally outstanding co-stars. Lars Cleveman has grown into an impressive dramatic tenor, as could be seen and heard in his creation of Siegfried in the recent Stockholm Ring. I have heard him in numerous roles over some time and he actually sang Tristan about five years ago in the little theatre in Karlstad. That was an impressive reading even though he tired slightly towards the end of the last act. Now his voluminous baritone-tinted voice seemed totally limitless and he sang with an intensity and expressivity that was overwhelming. Marianne Eklöf’s Brangäne took some time to warm up but then she was well up to her usual standards. I had some misgivings concerning Gunnar Lundberg’s Kurwenal when I reviewed the Naxos recording but now he impressed greatly, as did the other singer brought over from the original production, Lennart Forsén as King Marke. His imposing figure and warm and expressive voice has been a recurring asset at the Stockholm opera for a number of years now. Niklas Björling Rygert was a good sailor and shepherd and Ulrik Qvale’s Melot was fine too.

An armful of roses should be handed over to Gregor Bühl, who conducted the Royal Orchestra with unfailing precision and warmth. I was especially impressed by the cello section, marvellously full and beautiful, in the prelude. The Ring cycle and this Tristan certainly confirm the Royal Swedish Opera’s position as an important stage for Wagner opera.

Göran Forsling

Photos © Alexander Kenney (Stemme) and Carl Thorborg

^{Back to Top                                                    Cumulative Index Page}