The Metropolitan Opera HD Live Wagner: Tristan und Isolde (2006– ) Online

This is visually appealing production that takes place on a convincing ship. It makes effective use of a split-screen so is probably best seen in a cinema or on a very large television. The director points up the drama as well he can but there is no escaping that this is a very static opera and, for most of the first act, the participants are just standing there describing the back story. As usual with this opera, I eventually stopped reading the subtitles and just let the music wash over me.

Having seen this opera half a dozen times I am still at a loss as to how Tristan gets back to his castle in Brittany for Act III after being mortally wounded in Act II. Also, why is Isolde not with him? Why is he waiting for her ship to arrive? Of course, this being an opera, Robert Dean Smith, as Tristan is able to sing robustly through most of Act III despite being at death's door. He finally pegs out as Isolde arrives and I must say that Deborah Voight is magnificent during the Liebestod. She looks radiant at her new fighting weight and the singing seems effortless.

As much as I love Wagner's music, I do admit like with Richard Strauss his style takes some getting used to. The more I've heard Wagner's music, the more I have come to love it for its sweeping orchestration and emotional out-pouring after spending time just appreciating it. I just love Tristan Und Isolde, as much as I do love Die Meistersinger Von Nurnberg, Der Fleigende Hollander, Lohengrin, Tannhauser and the Ring Cycle(the very definition of epic), Tristan Und Isolde for the Act 1 Prelude and Liebestod alone could very well be my favourite.

This is a terrific Met performance. Is it my favourite Tristan of all? Not quite. My personal favourite is the Barenboim-conducted performance with Kollo, (Johanna) Meier and Salminen, and while technically flawed the 1974 Vickers and Nilsson production is magnificent musically. I was initially unsure of whether it would be better or worse than the often impressive(orchestra, Rene Pape as King Marke) but problematic(Jane Eaglen, sometimes dull staging and lack of chemistry between the leads) 2001 performance, as this production uses similar staging, but this one is much better than that(and the 1998 performance with (Waltraud) Meier, West, Moll, Weikl and Lipvosek).

It is a very interesting production visually, especially in the backdrops, with blue in act 1, yellow and dark blue in act 2 and (effectively) dull grey and green for act 3. I thought the white fabric, metal frame, long row of lights(something very ethereal about it), boxes with King Marke's throne being the impressive and horizontally-lined floor added very much to the mood. Likewise with the costumes, Voight's golden robe being simply breathtaking, though the male knights look oddly reminiscent of samurais. The High Definition is splendid, and the picture quality and sound are clear and sharp. Most interesting was the camera work, with the use of the split-screen technique. Mostly it did work very well, giving a more intimate view of the singers, ideal for the Act 2 duet and Liebestod, but occasionally it was distracting and not always needed.

Musically, it is outstanding, and that is not just Wagner's music. Thanks to the orchestra, the music has a lush, powerful and very sweeping feel to it. The Prelude to Act 1 really struck a chord with me. The beginning of act 2 managed to be both sensual and exciting as well. James Levine's conducting is as deeply felt as ever, while it was impressive in the 2001 production, the tempos gave more of an emotional bond and had more swiftness to me, the 2001 performance had a lot of power but had a tendency to go at a funeral-march speed.

You can't have an opera production without good singing and that's what you have here exactly. Deborah Voight is a superb Isolde. Her voice has so much richness and warmth with an almost sentimental approach perfect for the Liebestod, and her acting is both sincere and fragile, never fussy but always compelling. The Tristan of the production is Robert Dean Smith, replacing an ill Ben Heppner. Smith apparently made his Met debut here, and I thought he did a really impressive job, even if I don't think it is a good idea to make a debut anywhere in one of the hardest tenor roles in all of opera. His singing rings at the top in alternative to straining, he and Voight are affecting together and he is compassionate and moving. Act 3(Tristan's "shining" moment) is superbly done, even the slight mishap with his hair being caught in Kurwenal's buckle was done with professionalism.

The supporting cast are excellent, with the standout being Michelle DeYoung's Brangane, the most interesting supporting character of the opera, in fact it could be said that she and Isolde are the ones that drive the opera. She sings beautifully, and her acting is firm. I also loved that Isolde and Brangane's relationship has a sisterly feel to it. Stephen Gaertner is a dashing and solid Melot, Eike Wilm Schutte is a resonant and loyal Kurwenal and Matti Salminen is a powerful and moving King Marke. Overall, a terrific Tristan from the Met. 9/10 Bethany Cox