TRISTAN UND ISOLDE – REVIEW OF 2026 LIVE FROM THE MET PRODUCTION

Reviewed by James Karas

New York’s Met Opera has a new production of Richard Wagner’s Tristan und Isolde and it transmitted it to hoi polloi in local theatres around the world. It is an extraordinary production and a rich  collection of superlatives will accompany my review.

Wagner had doubts about Tristan und Isolde being produced and opined that “supremely talented performers are the only ones equal to the task”. The first company that agreed to stage it, dropped after rehearsals began because the singers and the orchestra agreed that it was much too difficult to perform. The second company that took it up, saw its leading tenor become terrified of his role and back out. The opera was judged unsingable after dozens of rehearsals and dropped; there were other disasters but you can look them up yourself.

The new Met production by Yuval Sharon shows his brilliant imagination that together with the work of Set Designer Es Devlin, and superior creative team delivers a Tristan und Isolde that will blow your mind.

Lisa Davidsen as Isolde and Michael Spyres as Tristan in "Tristan und Isolde." 
Photo: Karen Almond / Met Opera

The plot is straightforward but what Wagner did with it is anything but straight or simple.  The hero Tristan (Michael Spyres) is taking the beautiful Irish Princess Isolde (Lise Davidsen) to Cornwall to marry his uncle King Marke (Ryan Speedo Green). Tristan was injured when he killed Morold, Isolde’s betrothed. She used her magical powers to heal Tristan’s wound without knowing his identity and because he looked in her eyes and she fell in love with him. There is a bit more to it than that but listen to the orchestra and it will all make sense.

Without going into detail, the love between the two develops in depth and passion that can only be experienced and expressed by Wagnerian heroes and mere mortals like us can only imagine. The use of a love potion helps.         

Wagner’s prescription that only supremely talented singers can perform his opera is met by dramatic soprano Lise Davidsen as Isolde, tenor Michael Spyres as Tristan with mezzo-soprano Ekaterina Gubanova as Brangäne, bass-baritone Tomasz Konieczny as Kurwenal and bass-baritone Ryan Speedo Green as King Marke.     

Michael Spyres as Tristan in Act III of "Tristan und Isolde." 
Photo: Jonathan Tichler / Met Opera

The demands on the major singers are enormous. What most composers can do in five or ten minutes, Wagner holds the feet of the singers to the fire twice or three times longer. Davidsen has vocal prowess, control, tonal beauty and range that can only be summarized as extraordinary. She displays her masterful singing in the first act with Brangäne, her love scene with Tristan and of course the signature Liebestod. The number of singers that can ma0tch her can be counted on one hand and you may have a finger or two left untouched.

The demands on tenor Spyres as Tristan are not as onerous as those on Isolde but his performance is stunning both vocally and morally as the troubled faithful servant of the king. He is bringing Isolde to marry King Marke and his passionate love for Isolde forces him to betray his sovereign. He is a knight and such conduct reaches the depth  of treachery. Spyres makes us feel the pain of his treachery and enjoy his first-rate vocal performance.

Gubanova Brangane as the mixer of potions and Isolde’s companion has performed the role of Brangäne numerous times and she reprised it with ability and vocal mastery. The same kudos belong to bass baritone Tomasz Konieczny as Kurwenal and bass-baritone Green as King Marke. The King displays humanity and generosity in the face of a painful offence and fundamental betrayal.

Lisa Davidsen as Isolde, Ekaterina Gubanova (back to camera) as Brangäne, 
Ryan Speedo Green as King Marke, Tomasz Konieczny as Kurwenal, and 
Michael Spyres as Tristan. Photo: Jonathan Tichler / Met Opera

The bravura singing is matched and enhanced by the production values provided by Sharon and the rest of the creative team. I can only mention a few extraordinary touches. Some of the opera is performed on two screens. We see the characters on the upper screen and at times on the lower screen as well. Some of the action is seen through an eyeball that opens into a tunnel and zeroes in on the performers. There are some amazing scenes with gorgeous colours as well as more naturalistic ones with King Marke. Jason H. Thompson designed intricate projections, Ruth Hogben has designed amazing videos that are often dazzling and unexpected.

Yannick Nézet-Séguin conducted the powerful Metropolitan Opera Orchestra fortissimo and thrillingly.
Do not worry about the fate of the lovers, They defeat death with death. All was caused by the love potion. In death there is reconciliation, redemption and apotheosis through the power of love and Wagner’s music.
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Tristan und Isolde by Richard Wagner was transmitted Live in HD from the Metropolitan Opera on March 21 and a reprise on April 13, 2026, at the Cineplex VIP Cinema, Shops at Don Mills, Toronto and other theatres across Canada. For more information: www.cineplex.com/events        

James Karas is the Culture Editor of the Greek Press, Toronto