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Subject: Re: Tristan
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Sun, 9 Oct 2016 17:13:00 -0400
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Having seen the HD but with no plans to see it in house, musically this
Tristan und Isolde satisfied on all levels.  I don't know how he played in
house, but Stuart Skelton's Tristan was beautifully sung right thru to the
end.  With the HD cameras trained on him, he is not a natural actor as is
Stemme, but  he was sincere and diligent and the voice was under complete
control.

As to the production, Tristan is a work where less is more.  Too much was
going on with that silly compass that fought the exquisite playing of
Rattle and his musicians in the prelude and then the equally obtrusive
industrial fans whirling away during Act 2.  The best I could say about the
"Erector Set" encompassing all of this is that it was neutral and faded
into irrelevance thanks to the strength of the music making.  The fact that
Tristan's tragic childhood was elevated from subtext to center stage in Act
3 deflected from the fact that Wagner called the opera "Tristan UND
Isolde."  The "suicide" of Tristan and Isolde struck me as yet another
tedious chapter in the "Ya Gotta Get a Gimmick" school of Regie Theatre.
It denies the timeless ambiguities and spirituality of the work by reducing
it all to a "Romeo and Juliet" love story which this is certainly not.

Looking forward to Sondra Radvanovsky's sublime Norma in Toronto next
Saturday.

On Sun, Oct 9, 2016 at 2:22 PM, donald kane <[log in to unmask]> wrote:

> As with most recent new Met productions, much extraneous detail lost to
> upper tier viewing, may come across more advantageously in HD.  That
> won't explain however, such absurdities as a supposedly embattled
> vessel whose bridge is empty of pilot (let alone steersman) for the
> convenience of Isolde's Act Two rendezvous, or the sudden descent
> she and her hapless lover make to the depths of the cargo hold where
> a sharp white uniformed Marke inconveniently appears out of nowhere
> for the coitus interuptus.  I patiently wait to discover via PBS, what
> subtleties of
> movement and reaction can take the place of the Marx Brothers'  NIGHT IN
> THE INFIRMARY, which was all I could make of Act Three when I attended the
> premiere.
>
> dtmk
>
>
> On Sun, Oct 9, 2016 at 10:44 AM, Estelle Gilson <[log in to unmask]>
> wrote:
>
> > .
> >
> > I agree with Kathy that it was wonderful - including aspects of the
> > production.   And I too am seeing it live, so will also reevaluate.
> >
> > The production couldn't have been uglier.  When the porthole with the
> ship
> > and sea and exploding smoke stack turned up, I shut my eyes..  But it did
> > one thing for the opera that I'd never seen in any production.   Because
> it
> > was set in a ship - in a confined space, it allowed for the director to
> > invoke much more intensity - subtleties of movement and reaction which
> > enhanced the details of the drama.
> >
> > Yes, I missed the larger, grander, underlying universal angst that
> > Wagner's orchestra  is telling us about.
> > Can hardly wait to see it.
> >
> > Estelle
> > San Diego
> >
> >
> >
> >
> > At 09:04 PM 10/8/2016, Kathy Boyce wrote:
> >
> >> I thought it was wonderful, both the production and the cast, but I'm
> >> waiting until I hear it live next week to make up my mind.  And really,
> no
> >> one here really wants positive reports.
> >>
> >> Kathy Boyce
> >> New Hampshire
> >>
> >> www.cafepress.com/operabayreuth
> >>
> >> [log in to unmask]
> >> ------------------------------------------------------------
> >> --------------------------
> >> And the night shall be filled with music......        Longfellow
> >>
> >> On 10/8/16, 11:53 PM, Max D. Winter wrote:
> >>
> >>> Wow, judging from all the reaction around here, people were obviously
> >>> stunned into silence
> >>> by today's HD Tristan.
> >>>
> >>> MDW
> >>>
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