- Actores: Robert Dean Smith, Iréne Theorin, Robert Holl, Jukka Rasilainen
- Directores: Christoph Marthaler
- Formato: Cofre, Clásica, Sonido DTS Surround, DVD Audio, DVD, Subtitulado, Pantalla ancha, Importación
- Audio: Alemán (DTS 5.0), Alemán (PCM Stereo)
- Subtítulos: Inglés, Francés, Alemán, Español
- Región: Todas las regiones
- Relación de aspecto: 1.78:1
- Número de discos: 3
- Calificación FSK: No recomendada para menores de 6 años. No se nos ha facilitado la calificación española por edades (ICAA), pero puedes consultarla en la página oficial del ICAA. Las calificaciones por edad y/o versiones de otros países no siempre coinciden con la española. Más información sobre las diferentes calificaciones por edad.
- Estudio: Opus Arte (Naxos Deutschland GmbH)
- Duración: 292 minutos
- ASIN: B002QEXC6W
- Clasificación en los más vendidos de Amazon: nº92.322 en Cine y Series TV (Ver el Top 100 en Cine y Series TV)
Wagner: Tristan und Isolde - Bayreuther Festspiele (2009) [3 DVDs] [Alemania]
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Descripción del producto
"Recorded live at the Bayreuth Festival in July & August 2009, this production marks the beginning of an exciting new long-term partnership between the Bayreuth Festival and Opus Arte. The prestigious music festival takes place each year in northern Germany in a theatre that Wagner himself personally supervised the design and construction of. The festival has become a pilgrimage destination for Wagner enthusiasts, who often have to wait up to ten years to obtain a ticket! Katharina Wagner, the great-grand daughter of Richard Wagner, is currently codirector of the festival together with her sister Eva Wagner-Pasquier. Tristan und Isolde was first performed in 1865 and provided inspiration to many composers including Mahler, Strauss, Szymanowski and Berg. It is widely acknowledged as one of the peaks of the operatic repertoire, and has been performed regularly since its premiere. This production, by renowned director Christoph Marthaler, stars leading Wagner exponents Robert Dean Smith and Iréne Theorin in the title roles, supported by the Bayreuth Festival Chorus and Orchestra conducted by Peter Schneider.
<h3 class=""productDescriptionSource"">Press Reviews
"Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth's amazing acoustics. Robert Dean Smith is now a fine Tristan with a really beautiful voice...Robert Holl made a moving King Marke, his magnificent bass nobly used. Some of the most beautiful singing came from Clemens Bieber's Young Seaman at the beginning." (The Stage)
"In Tristan the standard of conducting and singing is high. Peter Schneider draws seamless playing from the orchestra, contouring Wagner's long arcs of sound as only someone of his experience can do. Iréne Theorin and Robert Dean Smith make a well-balanced couple - she all temperament and sound, he emotionally neutral but vocally flawless." (The Financial Times)
"Despite the ferocious competition, absolutely unmissable." (Gramophone)
Robert Dean Smith (Tristan)
Iréne Theorin (Isolde)
Robert Holl (König Marke )
Jukka Rasilainen (Kurwenal )
Ralf Lukas (Melot )
Michelle Breedt (Brangäne )
Bayreuth Festival Orchestra & Chorus; Peter Schneider
Stage Director: Christoph Marthaler
Catalogue Number: OA1033D
Date of Performance: 2009
Running Time: 292 minutes
Sound: 5.0 DTS Surround; PCM Stereo
Aspect Ratio: 1080i High Definition / 16:9
Subtitles: EN, FR, DE, ES
Label: Opus Arte"
Detalles del producto
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As to the performance, the cover of the Opus Arte set says it all: "Regiephobes" need not apply. This is clearly a Tristan set in the 20th century, circa the late fifties and early sixties. The set is essentially one, with adjustments made by the use of furniture and other decorations. Act I would appear to be a deck with many chairs, a cruise liner? An attractive woman, Irene Theorin is frumpily dressed. She storms across the set knocking over the chairs with great fury. Act II is an interior set and is evocative of nothing in particular. Theorin is dressed in a yellow suit that could be described as 60's chic, hair reminiscent of Jackie Kennedy. The seating arrangement for the two lovers is what you see on the cover of the DVD. The ceiling is a mass of circular neon lights periodiocally altered. Tristan would appear to be dressed as a cruise director. In Act III all the decorations (such as they are) have been stripped from the wall, and an a slightly elevated platform for a hospital bed surrounded by bars is the focus and where we find Tristan. My main complaint with the concept is that it appears to ignore the mythic element inherent in the Tristan legend--after all we in a world that contains potions of great power. In so doing Marthaler has drained away a great deal of the passion and humanity of the characters. They are more like puppets obeying his instructions. For example during Act II Isolde (white gloved) points her index finger in various directions at seeminly arbitrary times. I have no idea what this is supposed to mean. Our Tristan would appear to have been given no direction. I have read somwwhere that Flagstad had no idea of what the Isolde persona was; Theorin in a bonus film makes the remark that she is ready to go along with the director, but having sung the role a numbeer of times she also has some of her own ideas and is ready to employ them. I would like to hear more of her opinions.
Vocally the performance is on much stronger ground. Theorin's Brunhilde in the Copenhagen Ring is probably one of the best sung in today's list of current Brunhildes. The voice is hardly comparable in size to Flagstad or Nilsson, and if we were in a world that could offer singers of that ilk, she probably would be a leading Sieglinde. But if we want Wagner, Theorin, along with Stimme, probably offer performances that will trump any other contender. Until recently Waltraute Meier has certainly held the Isolde crown and her La Scala performance is superb, high notes not withstanding. She is also a tremendous actress and great beauty. She also had better direction with Patrice Chereau. I understand that Theorin is going to sing Turandot! Althought the role is short it strikes me as an inadvised move. The voice is too soft grained for a role that requires more metal. I would love to hear her in a Tristan that plays to her strenghts and utilizes her potential as an actress.
Of the recent Tristans Robert Dean Smith has the virtue of being the best. He certainly outsings Robert Gambill in the Glyndebourne performance who enjoyed the usual Act II cut. His voice is more inherently beautiful than Ian Storey in the La Scala DVD, but he is so poorly directed here that he simply cannot make the effect that Wagner surely must have intended. After helping the Met out with their Tristan run last year, Smith got the telecast with Voigt. Although I am no fan of the Met's production Smith was excellent, lacking the beauty of Heppner's voice, but much more secure and having the advantage of a slimmer physique.
Robert Holls Marke has the requisite gravitas, but he now sports an inchoate wobble. An indifferent actor (Marthaler, again?) he hardly makes the impact that Pape and Salminen do in their outings in the role.
It is not fair to plays all the CD sets that memorialized the era of geat Wagner singing (I refer to the bootleg performances from Bayreuth during the 50' and early 60')that are now available to us, Varnay in particular, but also Windgassen and Hotter, and then put on any of the DVD's that are currently available. We seem to live in age when singers with big voices simply don't exist; it can be argued that these voice types weren't available to Wagner. When asked as to how he or she was to sing he responded that they should sing his roles as they would in an Italian opera. But orchestras have grown larger and louder (the cowl at Bayreuth does compensate to a degree) and voices seem to be smaller. European houses are smaller and voice friendly. Also great Wagner conducting is hardly in abundance. When Thieleman is cited as the star of the most recent Ring cycle to appear on CD, we know that Wagner singing is in trouble. And Thieleman is doubtless the leading Wagner-Strauss conductor currently working, since Barenboim has departed from Bayreuth. Schneider is a good Wagner conductor; his instincts usually lead him in the right direction. He has been at Bayreuth for some time now and will never be the kind of star conductor that was so prevalent in the years after the reopening of the house.
As to my rating it is essentially the singing and that will draw me to the performance although in truth I am more likely to go to La Scala for a Tristan that is closer to the dramatic truth. New concepts no matter how odd or bizarre they seem can challenge ones opinions and preconceived notions. I welcome them--sometimes with reservations.
Robert Dean Smith has a distinctive voice and is better then Gambill in the Stemme version.Theorin has a big voice and is good in Acts one and three, but you feel she is attempting not to drown out Smith in Act two. Brangane Michelle Breedt is as good. King marke ,Holl, and kurwenal, Rasilainen are a credit to the opera . This is a live performance. I wondered what the Bayreuth opera house looked like inside ,now I know. The conducting of Peter Schneider is swift. This is how Wagner meant his operas to be conducted. His son Siegfried conducted in this manner, which he learnt from his father when he was still alive. I do not like slow conducted performances,it ruins it.Amazingly,the two Blu rays, and three DVDs I have of this opera, are all well conducted and sung. Well done, Bayreuth. Now what we require is a live Ring from that August establishment.
I LIKE this DVD. Smith and Theorin both sang beautifully and being "up close and personal" really diminished the somewhat unorthodox staging. I have the other available DVDs of Tristan & Isolde and have no regrets about adding this to my collection.