The London Symphony Orchestra's tradition of presenting complete operas in concert has reached a new pinnacle with Wagner's Tristan und Isolde. Under the baton of Antonio Pappano, this performance at the Barbican transformed the concert hall into a vessel for pure musical drama, proving why this opera is ideally suited for a staged orchestral reading.
Wagner himself described Tristan und Isolde as a 'Handlung' or plot, yet it stands out for its remarkable lack of onstage action. The true drama unfolds within the orchestra, making a concert performance the most authentic way to experience its emotional depth. Pappano's batonless, soft gestures coaxed the opening into being with unhurried delicacy, setting the tone for nearly four hours of revelatory music.
Orchestral Brilliance and Revelatory Details
The LSO's performance was a masterclass in orchestral texture. Details often lost in a staged production came to the forefront: harsh twangs from the double basses, an oboe trill cutting through the symphonic fabric, and a troubled, circling bassline given unusual prominence. The strings were immediately responsive, shifting from hard-edged articulation to cashmere-soft tones with effortless precision.
Drake Gritton's cor anglais solos, played from the back of the balcony and the front of the stage, were beautifully shaped with a beguiling tone. The orchestra blended into a single, minutely balanced instrument, a testament to Pappano's leadership and the LSO's world-class musicianship.
Vocal Performances: Triumphs and Debuts
The sung element offered a mix of seasoned mastery and promising debuts. Tenor Clay Hilley, in his 20th outing as Tristan, was blistering — capable of incredible volume and delicate nuance. He acted throughout, fully inhabiting the role. In contrast, soprano Sara Jakubiak was making her role debut as Isolde and kept a close eye on her score. Despite this, her marmoreal soprano powerfully conveyed Isolde's deep fury in act one, and she held her own in the decibel game. This is a role she will surely make her own.
Marina Prudenskaya's muscular, covered Brangaene moved constantly but not strictly in character, while Franz-Josef Selig provided exquisite German diction and richly upholstered tone as King Marke. Gyula Orendt was a flexible, sympathetic Kurwenal. The tenors and basses of the London Symphony Chorus were less lusty than usual from the back of the stage, but the overall vocal ensemble supported the orchestral narrative effectively.
The Star of the Evening: The LSO
While the soloists delivered memorable moments, the inevitable star of this performance was the LSO itself. Blended by the final chords into a single, minutely balanced instrument, the orchestra played as one entity under one of our finest Wagner conductors today. This concert performance reaffirmed that Tristan und Isolde is, at its core, a 'deed of music made visible'.
For those who missed it, the performance is repeated on 12 July, offering a rare chance to experience Wagner's masterpiece in its most distilled form. The combination of Pappano's nuanced direction, the LSO's peerless execution, and a strong cast makes this a highlight of the London classical season.
FAQ
What makes Tristan und Isolde suitable for concert performance?
Wagner's opera has minimal onstage action, with the drama rooted in the orchestra. A concert performance allows listeners to focus entirely on the rich symphonic textures and vocal interplay without visual distractions, making it an ideal format for this work.
Who conducted this performance of Tristan und Isolde?
Antonio Pappano conducted the London Symphony Orchestra, using soft gestures without a baton. He is widely regarded as one of the finest Wagner conductors today, known for his ability to draw out orchestral details often lost in staged productions.
How did the vocal cast perform in this concert?
Tenor Clay Hilley delivered a blistering performance as Tristan, while soprano Sara Jakubiak made a promising role debut as Isolde. Franz-Josef Selig provided excellent German diction as King Marke, and Gyula Orendt was a sympathetic Kurwenal. The London Symphony Chorus supported effectively from the back of the stage.
