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The Philadelphia Orchestra offers a musically and dramatically urgent performance of Wagner’s complete opera, buoyed by world-class soloists.

Magnificent conducting from Robin Ticciati and fine singers make Glyndebourne's latest revival of Lehnhoff’s production musically rewarding, but cerebral philosophical elevation overpowers the earthy reality of lust and love.

Charles Edwards' ambitious production is well served by a strong cast as Grange Park Opera opens its season in the Theatre in the Woods. 

Bayrischer Staatsoper’s revival of Warlikowski’s static production of Tristan und Isolde featured a sensational role debut of Elena Pankratova as Isolde.

For social distancing reasons, the Festival dispensed with a full staging of Wagner's epic love story, allowing singers and orchestra to share the stage in an able compromise.

The Festival d'Aix-en-Provence gives us a definitive performance of Wagner's opera – but for listening only.

The Bayerische Staatsoper's new Tristan und Isolde, featuring two stellar role debuts, is scenically disappointing but musically superb. 

Rattle leads the London Symphony Orchestra on a journey to his adoptive country, without so much as a lateral flow test to hold them up.

25 years after its creation in Bayreuth, Director Heiner Müller's legendary production of Tristan und Isolde was recreated and presented in Linz with committed performers with great success.

Peter Seiffert can still impress as Tristan, but Graham Vick's staging is uncertain and unconvincing. 

Wagner is a rare bird in Perth; the second *Tristan und Isolde* in 12 years worth the wait, no less for being a concert performance, and for bringing Skelton's masterful interpretation to an Australian audience

As part of the annual Wagner festival in the Hungarian capital, Peter Seiffert and Allison Oakes star as the doomed lovers.

The Cleveland Orchestra celebrated its 100th anniversary with a memorable concert performance of Tristan und Isolde with magnificent Nina Stemme.

A passionless staging of Wagner's masterpiece throws cold water on Barenboim's fiery conducting at the Staatsoper.

A strong cast, a lyrically simmering orchestra and lucid staging make this a Tristan und Isolde to treasure.

The 2011 Lyon production, with an excellent orchestral and vocal performance, brings an austerely moonlit version of Tristan und Isolde to Barcelona.

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

Sir Simon Rattle steers the LSO through a sequence of Haydn’s most forward-looking pieces while Denis Kozhukhin, as a late stand-in, is immense in Bartók’s Second Piano Concerto.

A passionate revival of Longborough's 2015 production with outstanding performances from the principals.  

Sir David McVicar's production of Tristan und Isolde premiered at the Wiener Staatsoper in 2013, and was then recognized as a friendly platform for singers. Here it is freshly revived with a new cast.

Catherine Foster returns, in the Ruhr, to the role of Isolde with Torsten Kerl in a new production of Tristan und Isolde .

Director Mariusz Treliński’s previous work at the Met, in conjunction with Boris Kudlicka’s sets and Bartek Macias’ videos, was a double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle.

Although a British composer by birth, Rebecca Saunders is most respected in Germany, where she has spent much of her working life. Her latest project was an immersive choreographed programme with the Junge Deutsche Philharmonie based around her violin concerto still. 

Despite a miscast Isolde, Wagner's operatic monument to love makes its mark in the production by the composer's great-grandaughter.

English National Opera's new Tristan is at its best when responding to Anish Kapoor's stunning stage sculptures.

Given the spate of visually distracting, if not irksome productions which seem to blight the opera world these days, there is something to be said for concert performances.

At the basic level Tristan und Isolde is an opera of hormones, not happenings; fathoms deeper it explores human experience at a point where sense is dumb and flesh retires – as close to heaven and hell as it’s possible to go without first having to die.

Sir Simon and Berln Philharmonic triumphed in a thought-provoking production of Tristan und Isolde with a fine ensemble of singers.

An uneven yet unforgettable performance, thanks to conductor Jaap van Zweden’s seductive colouring of the score and Jennifer Wilson’s refulgent Isolde.

A conceptually diffuse production of Tristan from Katharina Wagner is partially redeemed by stirring orchestral playing under the direction of Christian Thielemann and some fine singing at the opening of the Wagner Festival at Bayreuth.

The bright colours and childishness of Konwitschny’s production for the Bayerische Staatsoper shock but succeed. The cast and orchestra shine, especially in the final act.

A performance of Wagner’s epic Tristan und Isolde, a testimony for all-enduring love, is a welcome event anywhere in the world. 

A great love story as well as a cultural and musical shock as it has been from the beginning, this performance of Tristan und Isolde in Naples was led by an inspired Zubin Metha.

Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.

First class performances from Stephen Gould and Nina Stemme are backed by a magnificent orchestral performance in the Royal Opera's revival of Christof Loy's spartan production.

Tristan und Isolde is notoriously difficult to bring off in the theatre, but under Daniel Barenboim's direction, Waltraud Meier, Peter Seiffert and an outstanding cast give a profoundly moving performance of Harry Kupfer's production at the Berlin Staatsoper.

Video artist Bill Viola fills Tristan und Isolde with mesmerising images. Peter Sellars stages and Marc Piollet conducts a cast where King Marke reigns, at the Teatro Real in Madrid.

When most of us feel like we’re getting a little stale with a piece of work we’re doing – when the thoughts, words or ideas are drying up – we stop for a coffee, stretch our legs, or do a bit of internet browsing. When Richard Wagner realised inspiration was running low for Siegfried, he decided to have a break from it too.

Think of all the adjectives typically used to report on the best of female Wagner singing; add lyrical phrasing and imagine the absence of any shrillness, and you have come as close as possible to a description of the perfection that Nina Stemme achieved in her first Isolde for the Wiener Staatsoper.

Peter Sellars successfully updated the ancient magic in Wagner’s opera Tristan und Isolde. Wagner had already modernised the medieval tale by focusing on the middle of the story, where the passion of the doomed lovers catches fire. Wagner treats the mythic origins of the romance as back-story recollected while passions are flaring.

When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices.

History has cast a complex light on Wagner’s music and on Wagner the man. But Tristan & Isolde (Wagner’s enormous vision of erotic love) is an opera that can still resonate today. Nietzsche referred to its “dangerous fascinations”, “spine-tingling and blissful infinity“ and “voluptuousness”. This was Grange Park Opera’s first foray into Wagnerian opera.

Read our review of Dieter Dorn's production of Wagner's Tristan und Isolde in its 2008 broadcast from the Met Opera in New York.

Viel dekorativer Tand, wenig Aktion und Bewegung: zu Wagners Tristan und Isolde spielt in Bayreuth derzeit die Musik die Hauptrolle.

Glamouröse Macht der Bilder und flammende Sehnsucht der Musik kommen über weite Strecken in der Neuinszenierung von Tristan und Isolde am Meininger Staatstheater nicht zusammen.

Gerade in der Zeitschrift Opernwelt ausgezeichnet für Entdeckerlust sowie breit aufgestellten Spielplan: das „kleine“ Theater Regensburg zeigt, dass es auch mit großer Oper Eindruck machen kann.

Malgré la joie de retrouver Jonas Kaufmann en forme dans le rôle de Tristan, la soirée wagnérienne a globalement manqué d'inspiration.

Christian Thielemann leitet mit seiner letzten Wagner-Oper seinen Abschied als Chefdirigent der Staatskapelle Dresden ein.

Die Wiederaufnahme von Tristan und Isolde an den diesjährigen Bayreuther Festspielen bekommt mit dem Einspringer Clay Hilley als Protagonist eine neue Dynamik.