Cheap Wagner - Tristan und Isolde / Mehta, West, Meier, National Theatre Munich (DVD) (Brian Large, Jon Frederic West) Price

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Customer Reviews of Wagner - Tristan und Isolde / Mehta, West, Meier, National Theatre Munich

The production of the Opera of Munich is slightly shrill in the use of hot colors that counter laughs the moments by night like it is the Act II, and slightly nobly in the freedoms with the libretto (waiter with drinks instead of the sailor of the beginning Act I and ambulant sofa forthwith the Act II). Nevertheless, it does not betray the fundamental thing and the solution of the end is adapted to the character of the music and text.

They are the interpreters those who motivate passions. The Isolda de Waltraud Meier is simply perfect. When the King Marke goes to her indicating her " nobility and sublime grace ... " she wears shoes wonderfully with his "look". Initially her voice is not heard well, but seemingly it is a problem of microphones because her voice and singing refulgen in the party with her woman's transfiguration hurt to immaterial lover. The Jon Fredric West's Tristan is seemingly very young, an almost a teenager, though he is taller than his Isolda, with what he does not stay in scenic disadvantage. He solves with valor all his singing, and seems to be miraculous that works out alive of the great monologue of the act III. An ovation is gained well-deservedly. The performance of the lovers is good and captivating. The King Marke de Kurt Moll is surprising because this veteran sings to any voice with pain and bonhomie as his personage. The Kurwenal and Brangaene make the work with rigor and good singing, nevertheless it is disappointing in case of Weikl, with his caché and experience (he intervened in the recordings of Karajan and Bernstein), his little strengthen in the scenic and facial performance.

Brian Large's direction is like always, commits an outrage against the details developers and the first planes, without forgetting the global spectacle. The sound, marvellous.

fascinating production
I loved it. This is not a traditional production, but, it's not modern, either. It is as if it's set in the end of the 19th century. I find the huge ship in the first act very impressive. It moves forward and backward to change the scenes and it suits the music dramatically. So much things happen on this vassal! Everyone acts convincingly, especially Isolde and Brangaene, maybe some will find West's approach as Tristan in this act a bit "different" than the usual, though, it makes all sense as the story goes on.
The second act is the most innovative of all. I thought the "controversial" sofa was alright. They are noble, they won't just sit down on the ground to spend limited time with each other in a hidden place! Here they sit on the sofa confortably and talk about love at ease. Tristan is a big and strong man, he can carry a sofa anywhere he wants. The scene with the candles is really moving. This scene was never better presented before. Waltraud Meier is especially beautiful in this act, and she is such a natural actress.
The third act is really great. West's acting/singing is stunning. I had no problem with the slide show on the wall as someone criticized before. The slides were already invented in the late 19th century, right? The pictures are nostalgically in sepia and they show the castle, Tristan's childhood and most importantly his pregnant mother. You see the closeup of her as Tristan sings about her dead mother. It's such a powerful moment.
The last scene is electrifying. Meir's interpretation of Mild und Leise is to die for, and her facial expression is something you won't forget. Stunning! The video is so clear and the sound is Dolby Digital 5.1, it's as if she is right in front of you singing this most beautiful song ever written in history.

Visually Ridiculous but a Delight for the Heart and Ears
After the prelude (beautifully conducted by Zubin Mehta) the drama begins on a ship of no known vintage, earthly design or even any concept of anything that might float. The young seaman looks as if he stole his uniform from Little Lord Fauntleroy. The ravishing Waltraud Meier is first seen wearing a dress that belongs in "Bride of Bozo". Tristan shaves incessantly.

This is just the beginning of the optical assault.

The second act features a "torch" that looks like a dandelion after an overdose of steroids. The great love duet from Act II is played out on an ugly yellow couch that looks as if someone painted it. Act III begins with a slideshow that's supposed to be symbolic but feels meaningless. The only good thing is that it gives Tristan something to do besides shave.

That's not to say this production should be avoided-it shouldn't be. The onslaught of visual weirdness aside, it's well acted, well played, well sung and the sound quality is good. As a conductor Mehta works for balance and feeling, something which serves the enormity and passion inherent in Wagner's works well. His orchestra is never too heavy or light in any area. His tempo is graceful but never too fast or slow. The cast is solid. Bernd Weikl and Marjana Lipovsek are solid in their roles as friends and confidantes to the cursed lovers. Kurt Moll brings warmth and compassion to each scene he's part of and Claes Ahnsjö is convincingly despicable as Melot. John Frederic West is an excellent actor and a decent singer. His voice isn't always quite strong enough for the role of Tristan. In the music's highest ranges his strain shows but he more than compensates with the intelligence he gives to the role and through the chemistry he shares with the production's Isolde, Waltraud Meier. The truth is that when these two play out their great love scene there's enough sparks between them for me to forget about the ugly couch.

Waltraud Meier is an Isolde to marvel at! Her performance alone should make this DVD a "must have".

As an actress she's fabulous. She doesn't waste movements or gestures but instead conveys meaning with each and every one. She's among the most acclaimed mezzo-sopranos of her generation and this performance shows why. Her range is phenomenal-there's not an instant where her voice shows a sign of strain (incredible given the demands of the music for Isolde). As all the great ones can she colors her voice with an infinite number of subtle and powerful shadings which give greater emotional depth to any area her voice touches. This may be what sets her so far beyond the rest. When the drama closes with Isolde's Liebestod she still sounds fresh, vibrant and alive. The Liebestod is one of those pieces of music good enough to warrant fame for its composer even if he or she hadn't written anything else of value. There are a lot of recordings of it but never enough good ones.

This isn't just one of the good ones-it's one of the great ones.