Spain Wagner, Tristan und Isolde: Soloists, Coro and Orquesta Sinfónica del Liceu / Susanna Mälkki (conductor). Gran Teatro del Liceu, Barcelona, 27.1.2026. (JMI)
Tristan und Isolde, the good Richard Wagner opera, has returned to the Barcelona Liceu stage the place it was final seen in 2017 in performances carried out by Josep Pons. On this event, the Liceu has offered a brand new manufacturing, directed by Bárbara Lluch, the granddaughter of Nuria Espert, who is constant the household custom.
The stage is sort of easy and constantly darkish, each on Tristan’s ship and in King Marke’s fortress in addition to within the Kareol ending. In Act I, there’s a massive desk at which Tristan’s troopers are consuming and are joined by Isolde and Brangäne. Within the second act, the stage is occupied by a revolving bench the place the good ‘O sink hernieder’ love duet between the protagonists unfolds, adopted by the looks of King Marke and his troopers. It culminates in Tristan’s duel with Melot when the hero permits himself to be wounded and is severely injured. Lastly, Act III presents a form of rock formation the place Tristan rests, topped by a darkish disc that disappears along with his loss of life. It’s a easy manufacturing, by no means disturbing, and it faithfully recounts what’s written within the libretto
The musical route was entrusted to Finnish conductor Susanna Mälkki, who debuted on the Liceu three years in the past with Puccini’s Il trittico, which additionally featured Lise Davidsen. Mälkki’s conducting appeared fairly good to me, with a number of noteworthy moments, most notably in Act II. There was a superb response from the pit by the Liceu Symphony Orchestra in addition to from the Refrain in its temporary look within the first act.
Soprano Lisa Davidsen is making her debut within the full function of Isolde right here and delivered an exemplary efficiency. She has a wonderful voice, constant all through its vary, and a vocal energy I can not recall from another soprano in recent times. It isn’t straightforward to discover a tenor to accompany her, given the sheer energy of her voice and a top that few tenors can strategy. It was a triumphant debut.
Tristan was sung by tenor Clay Hilley who was wonderful – I might even say he is among the few vocal interpreters of Tristan who really does the character justice. His voice is that of a real spinto-dramatic tenor, completely projected, and he’s a outstanding performer. He was spectacular in Tristan’s third-act ravings.
I’ve at all times thought-about King Marke to be the third main character within the opera, however for that you simply want any person like René Pape, undoubtedly the most effective within the function in recent times. Right here it was bass Brindley Sherratt, whose interpretation of the at all times much-anticipated monologue might be described as sufficient although not sensible.
Mezzo-soprano Ekaterina Gubanova as Brangäne did effectively in phrases each of singing and appearing. Her center register lacks amplitude though it opens up effectively within the higher register. I preferred her at all times anticipated “Einsam wachend’ warnings in Act II. Kurwenal was sung by baritone Tomasz Konieczny, who was wonderful – he has a full and heat voice and gave a powerful interpretation.
Within the supporting roles, Melot was sung effectively by tenor Roger Padullés. Albert Casals made a fantastic Sailor and Shepherd, and Milan Perisic was convincing within the a part of the Helmsman.
José M. Irurzun
Featured Picture: Lise Davidsen as Isolde in Act I © S. Panizo
Manufacturing:
Director – Bárbara Lluch
Units and Lighting – Urs Schônebaum
Costumes – Clara Peluffo
Dramaturgy – Yvonne Gebauer
Refrain grasp – Pablo Assante
Solid:
Tristan – Clay Hilley
Isolde – Lise Davidsen
Brangäne – Ekaterina Gubanova
King Marke – Brindley Sherratt
Kurwenal – Tomasz Konieczny
Melot – Roger Padullés
Shepherd / Sailor – Albert Casals
Helmsman – Milan Perisic
