Philosophy trumps passion in Glyndebourne’s Tristan

Stuart Skelton (Tristan), Miina-Liisa Värelä (Isolde)

Stuart Skelton (Tristan), Shenyang (Kurwenal)

Stuart Skelton (Tristan), Miina-Liisa Värelä (Isolde)

Karen Cargill (Brangäne), Miina-Liisa Värelä (Isolde)

Par Dominic Lowe, 31 juillet 2024

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“The true magic of the evening, though, came from the pit”

Critique faite à Glyndebourne Opera House, Glyndebourne, le 29 juillet 2024

Wagner, Tristan et Isolde

Glyndebourne Festival Opera

Robin Ticciati, Direction

Nikolaus Lehnhoff, Mise en scène

Roland Aeschlimann, Décors

Andrea Schmidt-Futterer, Costumes

Robin Carter, Lumières

London Philharmonic Orchestra

The Glyndebourne Chorus

Dan Dooner, Revival Director

Stuart Skelton, Tristan

Miina-Liisa Värelä, Isolde

Franz-Josef Selig, Roi Marke

Karen Cargill, Brangäne

Shenyang, Kurwenal

Samuel Sakker, Melot

Caspar Singh, le Berger, le Jeune Matelot

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Mark Valencia, 3rd August

Damiano Michieletto’s production of Janáček’s opera breaks a key tenet of high-concept opera: where it should reveal, it obfuscates.

***11

All the world’s a jest: Falstaff returns to Glyndebourne

Mark Pullinger, 23rd July

Richard Jones' 2009 production returns to Glyndebourne after a long absence, but the 1940s comedy scrubs up fresh.

***11

A strong new Figaro opens at Glyndebourne

Dominic Lowe, 29th June

Mariame Clément is a popular director at Glyndebourne, and her new production of Figaro shows her trademark approach to hardhitting comedy.

****1

Glyndebourne's Saul still packs a punch 10 years on

Nick Boston, 8th June

Returning from the original run, Christopher Purves and Iestyn Davies were joined by a strong cast and chorus for a revival of Barrie Kosky's striking production.

*****

Unhurried suspense in a very English Parsifal

Peter Quantrill, 17th May

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****1

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David Karlin, 16th May

Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

*****

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Dominic Lowe

Dominic Lowe recently completed a degree in Classics, and one of his great interests is the reception of Greece and Rome in opera. A regular opera-goer since his very early teens, he is particularly keen on the hidden operatic gems of the 19th century. He is largely based in the South of England.

Philosophy trumps passion in Glyndebourne’s musically excellent Tristan und Isolde