Opera 'Tristan und Isolde'

Bilbao Symphony Orchestra. Directed by: Assisted by Erik Nielsen.
The Bilbao Opera Choir. Directed by: Assisted by Boris Dujin.
The stage director: To the Allex Eagle.
The soloists: I'm talking about R. Assisted by Nicholls, G. By Hughes Jones, M. The mimic, E. In Silins, C. Assisted by Daza, D. According to Barcellona, J. Cabrero and G. The Mungia.
When: January 18th.
In which: At the Euskalduna Palace in Bilbao.
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Every once in a while a good Wagner is appreciated, who puts the hair at the forefront with its density and its harmony, as well as with its drama. This Wagnerian universe, although it does not offer a simple and light pleasure like the Italian bel canto, leaves us glued to the seat immersed in a thick and gloomy atmosphere that will make us think.
OLBE allowed us to enjoy all this, maybe not to the level we would like, but the public enjoyed it, that’s for sure.

Tristan und Isolde is a long opera, like all the others in Wagner. It has almost no action, and it has very long monologues of the protagonists that bring us together in their tragic passions. In reality, the spell that makes this opera, and it is a great spell, is the music itself, the cell that Wagner spreads throughout the work, which acts as a subliminal element, and that affects us when we perceive it. It's the magic.

But this is an opera. A total show. And what OLBE offered us didn’t have all the elements. In this opera the action is very implicit, but this hidden action, which does not emerge directly, must be expressed more clearly to the public. I mean, there has to be a proper stage direction so we don't think we're in a concert version. And at times it seemed that way.

The singers have been hyerical, with little expression and movement. The scenography didn’t help either: a tarima and many projections. Many superimposed images, a quasi-climatic environment, images created by artificial intelligence... But I appreciate a well-assembled scenario that will help me fantasize about the action that triggers all those emotions that Wagner puts in front of us.

Let's examine the musical aspect. Although we didn’t get a chance to enjoy the soprano Oksana Dyka in Isolde’s role – she was sick – the British Rachel Nicholls played the hero with ease, strength and the special aura that this character must have. In addition, he showed a clean and safe voice. He proved to be an excellent Wagnerian interpreter. Gwyn Hughes Jones, on the other hand, did a slow Tristan, but also had an effective interpretation and easily overcame the difficulties of the paper.

The rest of the soloists also suffered from a lack of movement, but this cannot be attributed to them, since it is a problem of scenic direction. But it was vocally invented. The following interpretations were particularly noteworthy: Marco Mimica, in the role of King Marke, full of depth; the mezzo Daniela Barcellona, who performed brilliantly with voice and was also the most convincing actress; and the tenor Carlos Daza, in the role of Melot, well timed.

Without a doubt, we must highlight the performance of the Bilbao Symphony Orchestra, under the guidance of Erik Nielsen, who from the first famous chord Tristan enjoyed a fantastic reading of the score, full of nuances. Oboe-soloist, wonderful.