Cher Public

Broadcast: Tristan und Isolde

Today’s conversation piece from Bayreuth: a revival of Tristan und Isolde with Stephen Gould and Petra Lang conducted by Christian Thielemann. Broadcasts from various sources begin between 9:45 and 10:00 AM EDT. Photo: Enrico Nawarth

  • Jamie

    I haven’t been here much lately so I’m wondering is the Chat Room no longer in operation? I don’t see it, and the 172 comments on the Meistersinger item makes me think that might be how things are done now.

    • Armerjacquino

      I don’t know precisely what went down because I wasn’t there, but the gist is that people couldn’t be trusted to use it civilly.

    • La Cieca

      We (that is, I) decided that an on-the-record chat would encourage participants to greater civility.

  • Susan Brodie

    I’ve been listening with less than full attention. Thielemann has crafted some thrilling moments, but I’m finding the Isolde very hard to listen to. This is an aural equivalent of eating durian: delightful if you can get past the overwhelming stench--here, Lang’s squally timbre, close miked. I’m sure it’s very exciting in-house, as evidenced by the end-of-act ovation.

  • Camille

    Stephen Gould was unstintingly stentorian in a way not too often heard. Much as I was impressed by Thielemann when first heard in Die FRAU years ago, and as well as it seemed to go today, I am still left remembering what Sir Simon did with the orchestra here at the Met last season, as I loved what he did and it has somehow changed a lot of my former perspective on the music, admittedly, heavily Furtwanglerized as I’ve always long since been…

    For the rest, I really liked both die Brangäne, Frau Mayer and Mr Patterson, whom I’d admired so much as Gunther here in a previous Götterdâmmerung. All these years later,
    19 or 20 wince she sang with Queler/OONY, Lang still sounds very long from being an isolde and more like a Brangäne, but at least she didn’t wobble, and for that I’ll forgive anlot of other annoyances.

    I don’t know. It was a good enough performance for me but not transcendant, or even close.

  • Parpignol

    great musical performance in the house; and Lang, even with some insecurity on top notes, sounded really good in the house; fine performances from all principals, Thielemann was thrilling; and the Katharina Wagner production is so terrible that I don’t even want to try to describe it; the boos were all for the production, including one loud boo during the final moments of the music, which came from someone quite well-known in the German music world. . .

    • Camille

      Those boos at the first act end were directed at the production solely? I was wondering what there was to complain of don’t try to explain it parpignol.