[curzon]

I saw the new production of "Tristan und Isolde" last night at the ROH. I had a few reservations about the production and unfortunately poor Ben Heppner was very under the weather (Some of Act 2 was pretty disastrous). However even he had moments of greatness. He probably suffered most from the production - He can be a bit of a blank acting-wise but, with the right director (for example in the recent ROH "Grimes") he can produce a riveting performance. On this occasion, not helped by some hideously unflattering costuming, he was often left adrift. Even so there were still some revelatory moments especially in his relationships with Kurwenal and Marke.
John Tomlinson seems to be losing his upper notes (or he was tired from doing double duty on Tristan and Don Carlos) but his Marke was still an object lesson in how to make the most of the anguished monarch's scenes. The problem with portraying Marke is that he is never established in a normal/content frame of mind. He starts straightaway in full on grief/agony mode. Which means, in the wrong hands , he can appear as just an old whinger! Tomlinson (and Loy) avoided this trap.
The rest of the cast were of the highest order and would be hard to better. Sophie Koch (unexpected casting for Brangaene) was superb musically and in her portrayal of Loy's unusual (and very effective) take on the character
Volle was by far the best Kurwenal of my experience. His voice is sounding better every time I hear him. It can't be long now before he takes on Wotan?
Which brings me to Nina Stemme. Already a very fine Isolde at Glyndebourne she has now blossomed and expanded into the greatest exponet of the role around today. Although as yet she doesn't quite attain the volcanic sweep of Waltraud Meier she is far more vocally secure than Meier ever was in this role. She riveted the audience at her every appearance and she crowned her performance with by far the best live Liebestod of my experience. So often this final scene is an anti-climax because the soprano doesn't have the reserves of energy to breing off the huge sweeping phrases that Wagner demands. No such reservations about Stemme's final scene which was incandescant and unbearably moving.
Pappano and the ROH orchestra were on top form which, nowadays, is unlikely to be bettered anywhere.
A blistering, challenging, electrifying, revelatory and finally elating evening

Seb

PS With my technician/designer hat on I would note that, although from my seat I was fine, I can see that the set poses significant sightline problems. These could however be solved relatively simply by turning the diagonal s/r wall approx 10-15 degrees clockwise. There would need to be adjustments to settings and blocking in the upstage area but it would allow the audience in the auditorium left side positions to see the action which is 75% based near or against the wall.

[Trev]

PS With my technician/designer hat on I would note that, although from my seat I was fine, I can see that the set poses significant sightline problems. These could however be solved relatively simply by turning the diagonal s/r wall approx 10-15 degrees clockwise. There would need to be adjustments to settings and blocking in the upstage area but it would allow the audience in the auditorium left side positions to see the action which is 75% based near or against the wall.

Even without a technician's hat I would say that if you have a ticket in the left; slips (AA,BB), boxes or Stalls Circle you may as well stay at home and listen to it on the radio. In moments of drowsiness and I am afraid there were a few, I was sympathising from my central upper amphi, with those who had such a poor vantage point and thinking for a new production it would be luck of the draw whether you had left or right seating. Totally agree about Heppner whose Grimes I really liked (not as much as Stuart Skelton at the ENO) but he was really struggling in this (I saw the same performance as you), also loved Ms Stemme, just a shame that her Tristan didn't match.

[curzon]

Even without a technician's hat I would say that if you have a ticket in the left; slips (AA,BB), boxes or Stalls Circle you may as well stay at home and listen to it on the radio. In moments of drowsiness and I am afraid there were a few, I was sympathising from my central upper amphi, with those who had such a poor vantage point and thinking for a new production it would be luck of the draw whether you had left or right seating. Totally agree about Heppner whose Grimes I really liked (not as much as Stuart Skelton at the ENO) but he was really struggling in this (I saw the same performance as you), also loved Ms Stemme, just a shame that her Tristan didn't match.

I have seen him give vocally triumphant performances of Tristan in New York and (especially) in Paris with Meier but he was certainly far from his best here. I felt hugely sorry for him as I can't imagine anything more horrible than being onstage unable to fully control your voice. A lesser artist would have just sent on their understudy.

Seb

[musicals fan]

I went to the Sunday performance and must admit that my enthusiasm for Wagner was not increased by this performance. Without going into details, many critics didn't like this particular "interpretation" of this Opera either. Specifically I thought the acting very poor - being more used myself to professional stage actors who manage to impress most of the time.

I too was a victim of the appalling sight lines and even though Covent Garden have given all those who were affected (including me) a 50% refund I could not understand why the **** the set could not have been moved about a metre clockwise to eliminate this problem. It is a complete mystery to anyone not connected with the arcane world of opera why such obvious changes are not made. Didn't ANYONE consider the view from the audience's perspective?

PS Ben Heppner was "off" for this performance and we had the Swedish singer (name eludes me) who sang for Heppner on the Thursday.

[curzon]

I went to the Sunday performance and must admit that my enthusiasm for Wagner was not increased by this performance. Without going into details, many critics didn't like this particular "interpretation" of this Opera either. Specifically I thought the acting very poor - being more used myself to professional stage actors who manage to impress most of the time.

I too was a victim of the appalling sight lines and even though Covent Garden have given all those who were affected (including me) a 50% refund I could not understand why the **** the set could not have been moved about a metre clockwise to eliminate this problem. It is a complete mystery to anyone not connected with the arcane world of opera why such obvious changes are not made. Didn't ANYONE consider the view from the audience's perspective?

PS Ben Heppner was "off" for this performance and we had the Swedish singer (name eludes me) who sang for Heppner on the Thursday.

Lars Cleveman was Tristan on Sunday.
Although obviously allowances would have to be made for Cleveman who had not been present for the rehearsal period I am still suprised that you found the acting poor. It seemed to me to be extremely detailed and highly responsive to an extremely complicated text. Clearly the inordinate demands of singing Wagner does place some limits on a singer's acting but this is simply something one has to accept as part of the opera package just as one accepts that acting in classical ballet is formalised.

Seb