Santa Fe, NM — Play of light has always been part of the show Santa Fe Opera: A magnificent open-side theater in the hills creates a drama from the darkness of the sky, the brilliance of the stars, and hopefully the flash of a distant storm.
But Santa Fe’s stunningly discreet, lovingly loyal new “Tristan and Isolde” Beyond the first Wagner and “Flying Dutchman” of the summer home for over 30 years, the only advance to the composer’s drama so far, the light moves to the center of the stage.
Day and night are at the heart of “Tristan”, the former representing the obvious and intrusive reality of Tristan and Isolde struggling to escape in love, the latter being the “mysterious realm” and passion that Tristan sings. , And ultimately oblivion.
There were times when the metaphor was treated as at least some consumables. In honor of the singer’s stamina, Wagner’s longest controversy over the philosophical metaphor of Act 2 has traditionally been cut.
However, the incompatibility of the world of light and darkness is regarded as the principle of organizing Santa Fe’s “Tristan”, and Greg Emmetaz’s subtle predictions Build on Smart lighting by John Torres.Co-directed by hot shot Lisenka Heijboer Castañón When Zack WinnocarIt contrasts bright white with pitch black and often lives in shades in between.
The results are filled with impressive and inspirational images. We meet Tristan as a towering silhouette. For example, a protrusion that Isolde can fix her dissatisfaction. As the shadow of the absent Isolde roams Tristan’s hallucinatory wall of mind, the image finds its echo after a few hours.
Many of the first acts take place in a cramped box of light, as Isolde is involved in a voyage to marry King Marque. Spotlights chase her as she explores the swamps she invades to avenge the killing of her fiancé Morold, as she says she didn’t kill Tristan before. When Tristan finally decides to meet her, she is already hiding in the shadows of the night. They don’t need potions to fall in love — just to reveal what they already know.
These types of touches are mildly hinted at, suggesting an atmosphere rather than pretending to be a grand interpretation. But that’s the point. Dutch and Peruvian director Hiboa Castagno, who praised Pierre Audi for supporting Pierre Audi in this opera in Amsterdam, and Winncle, who became famous as the artistic director of the rebellious American Modern Opera Company, It offers something like a welcome to works that are often treated with caution, or, ironically, or obfuscated by mysterious symbolism.
Heijboer Castañón and Winokur do not offer a drastic intervention in the conspiracy, they only delicately understand it as an intimate, friendly and erotic story. Some of the existing props are lightly used.Spare set from blueprint by construction and design company Charlap Heyman & EleroConsists of a mottled gray four-angled wall. For example, a notch reminiscent of a castle tower, but it only reminds me of it. Carlos J. Soto’s The costume suggests an abstraction rather than declaring distance as a goal.
Everything has a refreshing sense of trust, a wise desire to not disturb what is clearly left to these young collaborators, basically a human story, and perhaps above all a willingness to create space for music. ..
And why?
James Gaffigan usually stood on the podium in the first run of the Full Wagner opera, causing a fierce strength to supply energy that the staging tended to resist, pushing the drama hard, but not tough. .. He was a muscular, quick-scoring take, but fortunately for the show, which ended after midnight.
The more experienced you are, the more intentional harmonics and theme directions can be brought about. Perhaps, just as Wagner is a habit, not an exception here, the purpose of the transition is increased and the motivation to stay longer is increased. playing. In any case, the signs are promising for Gaffigan. responsible person Next year in Berlin’s Comish Opera.
Don’t worry about the future when it comes to soprano Tamara Wilson..Famous as Verdian, she will sing Elsa At the Metropolitan Opera “Lohengrin” next spring Sieglinde Shortly thereafter in Vienna; this Isolde was already quite Wagnerian, as it was powerful enough, but the text was ideally accurate.
Cornered, angry, mean, afraid, anxious, agitated, engrossed, calm, in turn — Jamie Barton’s epic Brangane-like portrayal of Wilson is as authoritative as sung inspirationally. It was an action with. Fixed relentless attention to the principal.
With a profound stage presence, Simon O’Neill suffered from that generous focus in the first two acts.In his third he outperformed himself, but the sharp, compressed quality of his voice still seemed less suitable for Tristan than some of the roles he undertook. service To Wagner.
Nicholas Brownley’s unpretentious loudness, or the wonderful Kurwenal Dutch David Alden’s production, scheduled here next season, had frequent problems with O’Neill slicing the orchestra. The influential ease of King Marke of Eric Owens pointed to the tenor’s stilt, self-conscious delivery as well.
But this is a “Tristan” that seems natural anyway, as Wilson dominates it with the power of voice and the clarity of personality-because it claims nothing-it’s of this peculiar piece. It should be “Isolde” which shortens the name. And it is Isolde that the last coup is reserved. When the music of her transformation resolves, the walls of the set open and Wilson quietly walks behind the theater and towards the night.
Tristan and Isolde
Until August 23rd at Santa Fe Opera, New Mexico. santafeopera.org..
