Germany Wagner, Tristan und Isolde: Soloists, Actors, Refrain of Anhaltischen Theaters Dessau, Anhaltische Philharmonie Dessau / Markus L. Frank (conductor). Anhaltische Theater Dessau, 19.5.2024. (GT)
Manufacturing:
Director – Michael Schachermaier
Set designer – Paul Lerchbaumer
Costumes – Alexander Djurkov Hotter
Dramaturgy – Yuri Colossale
Refrain director – Sebastian Kennerknecht
Solid:
Isolde – Iordanka Derilova
Tristan – Tilmann Unger
König Marke – Michael Tews
Kurwenal – Kay Stiefermann
Melot – Barış Yavuz
Brangäne – Anne Schuldt
Shepherd – David Ameln
Steerman – Pawel Tomczak
Voice of the Younger Seaman – David Ameln
Usually referred to as the ‘Bayreuth of the North’, the Anhaltische Theatre Dessau in Saxony-Anhalt can boast one of many best performing phases in Germany – significantly for its distinctive stagings of Wagner operas – and possesses one of many largest revolving phases within the nation. Opera was first carried out right here in 1794 on the Fürstliche Reitbahn with the Anhalt Philharmonic Orchestra beneath Friedrich Wilhelm Bossann. Dessau’s Wörlitzer Park was the venue for the theatre, but it was closed by Duke Leopold III in 1810. A number of venues had been used till 1938 when the brand new Dessau State Theatre opened with a efficiency of Der Freischϋtz, and on the time, was the most important theatre north of the Alps. In 1945, the theatre was broken by bombing and in 1949 reopened with Beethoven’s Fidelio.
Dessau has a proud historical past of staging operas by Wagner; the primary manufacturing was in 1857 with a efficiency of Tannhäuser, and a decade later, Lohengrin adopted, and simply seven months after its premiere, Die Meistersinger von Nϋrnberg was staged in 1869 in the identical 12 months as Die fliegende Holländer. Wagner visited the theatre a number of instances and praised the orchestra. Notably, Wagner chosen 13 members of the Dessau Court docket Orchestra for the preliminary Wagner Competition in 1876. Cosima Wagner, the composer’s widow directed a manufacturing of Hansel und Gretel in 1894. The custom continued in 1893 when Der Ring des Nibelungen appeared in Dessau. Between 1953 and 1965, Dessau staged annual festivals of Wagner’s operas, and regardless of not being staged for a few years, in 2015, the ‘Bauhaus-Ring’ by André Bücker made headlines for its authentic staging.
The final staging of Tristan und Isolde in Dessau was in 2005 by Johannes Felsenstein (son of the director of the Komische Theatre Walter Felsenstein) which is offered on DVD. Right now the theatre is a multi-purpose venue, and the orchestra has its programme of concert events together with chamber recitals at different venues. The Saxony-Anhalt area boasts a wealthy historical past within the arts; J.S. Bach lived and composed a couple of miles away in Köthen, whereas Martin Luther initiated his reformist church in close by Wittenberg. The town of Dessau is most well-known immediately for the Bauhaus College based by Walter Gropius and the town’s structure displays his affect. Lots of the previous city’s historic buildings have been restored to their former glory, together with components of the previous Royal Palace.
When this staging premiered in January this 12 months, it was ignored because it adopted the premiere of a broadly acclaimed Tristan und Isolde on the Semper Opera in Dresden. But this Dessau manufacturing is of excellent advantage, no much less for the singing of the principal roles and its manufacturing – remarkably – the entire singers are from the Anhaltische Theatre Dessau.
The opening bars had been spectacular in asserting the Tristan chord, and the prolonged harmonic sequences of cadences and constructing of stress that may unfold in depth till the ultimate bars. The curtains opened to disclose a easy rectangular construction hinting on the ship’s bridge and openings via which the motion befell – not with no trace on the Bauhaus. This minimalist design allowed the closing of the construction by panels for a extra intimate background. Within the opening scene, the younger sailor’s singing ‘Westwärts schweift der Blick’ was eerie but arrange the scene magnificently for what was to observe.
Isolde sat within the decrease half as Brangäne (Anne Schuldt) was above as if defending her – this central scene opened as much as reveal the ship because it approached Cornwall. In his opening phrases, Kurwenal’s ‘Auf auf! Ihr Frauen!’ revealed Kay Stiefermann’s splendidly noble distinct baritone – whereas Tilmann Unger’s Tristan exhibited a powerful heldentenor gleaming in magnificence in his ‘Herr Morold zog zu Meere her’.
The Brangäne of Anne Schuldt was vibrant, and her voice all the time subordinated to Isolde, whose soprano developed from a fragile low voice to a voluptuous heat – with only a trace of vibrato – along with her singing mixed with arms and arm actions and ever so significant facial and eye actions. Iordanka Derilova expressed this via swiftly altering feelings starting from hatred to nice love. Because the ship approached land, the male refrain was very good – magnificently displaying off the very good acoustic worth of the theatre – the gritty male voices resounding via the theatre. All of the sudden to carry the act to a detailed, King Marke made a startling entry from the auditorium wearing a pink cardinal cloak and swiftly took Isolde away because the curtain descended.
The second act staging was augmented by a red-carpeted stair on the precise representing the ascent to King Marke’s fort. The love scene was movingly illustrated because the lovers embraced in opposition to the imagery of a full moon, whereas above the determine of Brangäne was on watch. Brangäne was one of many excellent singers of the night – each phrase was sung with each gravitas and emotion as she repeated her warning to the lovers under, ‘Einsam wachend in der Nacht’. Finally, it was Kurwenal who interrupted them together with his pressing, ‘Rette dich, Tristan!’ The King Marke of Michael Tews was one other spotlight, during which each facial motion revealing his shock and anger on the betrayal by his closest good friend and that of his spouse. His darkly expressive bass has all of the deep gravitas required for the position, and his physique actions augmented his singing. The costume of a pink cardinal added a particular be aware to his portrayal invoking non secular solemnity. Within the struggle scene with the traitor Melot, Tristan threw down his sword and Melot’s spear struck him down.
The opening scene in Act III revealed a ship within the background, with a desk and chairs within the foreground as we hear the soulful harmonies of a cor anglais performed by a musician on the bridge – Kurwenal is treating Tristan on his deathbed, and as Tristan goals, ‘Verflucht sei, furchtbarer Trank!’ there enter mysteriously (just like Katharina Wagner’s staging of the opera at Bayreuth) 5 maidens – all in Isolde’s blue gown – one in all whom is pregnant, and because the scene evolves, their males enter and both embrace or stand intently by their lovers. The looks of 5 pairs of lovers appeared to have some connection, as if via lust, attraction, or by likelihood, maybe displaying a special side of affection and dying from Isolde and Tristan’s ardour. The ladies make origami paper boats because the remorseful Marke sings, ‘Tot denn alles!’. Isolde enters, her singing enhanced by her fantastically expressive portrayal via each motion of her arms and arms, ‘in das Welt-Atems. wehendem All. Tristan rises up and takes a seat and appears out into the auditorium, and because the closing bars of the Liebestod resound, ‘Gentle und leise wie er lächelt’, Isolde takes her place subsequent to him taking his arms in hers because the curtains descend.
The stage setting was easy and efficient, and the motion on the stage was glorious by bringing out each side of the plot, with both lengthy developed passages or swiftly shifting motion, such because the killing of Melot within the closing act. A number of distinctive parts of the staging had been executed with nice magnificence most notably within the love scene portrayed by an important full moon past Isolde and Tristan’s first embrace.
From the very first bars, the orchestra had been very good in bringing out all of the themes of the rating masterfully directed by Markus L. Franck. Of the singers, there have been magnificent characterisations by Kay Stiefermann as Kurwenal and the Brangäne of Anne Schuldt, however the best performances of the night had been these of the main characters by Iordanka Derilova and Tilman Unger who had been world-class of their portrayal and vocal characterisation. In all, this wonderful manufacturing masterminded by Michael Schachermaier allowed the singing to dominate and the narrative to develop – there have been no weak spots – the whole manufacturing was additionally blessed by easy units by Paul Lerchbaumer that dovetailed effectively into the narrative developed from Yuri Colossale’s dramaturgy.
In conclusion, I’ve seen many various stagings of this opera – however this Dessau manufacturing is likely one of the best that I’ve had the nice fortune to attend, each for the magnificent singing and performing from the 2 central performers and thru to the secondary components all of whom are contracted to the Anhaltische Theatre Dessau along with an impressive, and memorable manufacturing. The theatre has a vibrant repertoire embracing well-known operas and likewise less-popular operas, and there may be a lot to draw guests to Dessau for the wealth of cultural sights each right here and within the Saxony-Anhalt area.
Gregor Tassie
