Timeless, powerful, thrilling.
Tristan Und Isolde is a epic for the ages. With themes of love, life, and death there is nothing out there quite like this. A uniquely stirring opera, this rendition of the classic tale is set to Michael Thrift’s simplified arrangement, featuring a piano quintet and little else. This unusual and haunting opera is worth a watch.
The intermingling of love, sex, and death is seen across many epic and classic tales. Tristan Und Isolde is a tale told through time that follows love to the tragedy of death. This rendition leans into the sexuality of the story in a way that previously presentations have not. Death is another central theme; three suicide attempts across three Acts.
The set left a lot to be desired. For a production of this caliber, Caitlin Abbot’s wall of foil was a disappointment. Her other designs were alright but the backdrop severely damaged the overall impact. In spite of this, Davy Cunningham managed to create a moving atmosphere with his splendid lighting.
Two violins, a cello, viola, piano manage to almost perfectly capture the intensity and beauty of Wagner’s full orchestra work. At times the music seemed lesser than the story called for; it was gentle when it should have been harsh, detracting ever-so-slightly from the story’s impact. Thrift’s arrangement leaned into the abnormality of the Tristan Und Isolde. Limiting the accompaniment allowed the audience to embrace the essence of the music.
It is an intimate performance that enables the audience to see the subtlest expressions from the singers. The chemistry between Tristan and Isolde is palpable. The nearness of the performers invited the audience in, allowing them to experience an intimacy and understanding of emotion not possible in a larger setting. Watching Brangane panic as they swapped the love potion for death was particularly captivating. The drawback of this intimidate space was that the volume became somewhat overwhelming. The singers were exceptional, but they seemed not to account for the size of the space in their performance; their voices were sometimes too loud, to the point of distortion.
The talented cast charmed but did not quite achieve perfection. Brian Smith Walters amazed as Tristan; his depth of tone and power is an opera house’s delight. Becca Marriott brought a husky charm to the role of Isolde. She played with power when needed but held back when a softer approach suited, giving an intelligent and engaging performance. Marke, portrayed by Simon Wilding had a few stumbles and shakes that lessened an otherwise good performance. Lauren Easton, Brangane, sang too loudly for the space. Oliver Gibbs as Kurwenal was a real treat, perfectly adapting to the space and crafting a memorable character.
Grimeborn’s Tristan Und Isolde is not perfect but it is still an impactful piece. Their biggest struggle was in their use of the space. In spite of its faults, it is still a performance worth seeing and a story worth remembering.