Tristan and Isolde (Wagner)
W.A.Symphony Orchestra
Perth Concert Hall
reviewed by Neville Cohn
He was a horrible person. He treated women appallingly. His vanity was exceeded only by his vanity. He was ferociously anti-semitic – but never hesitated to appoint top-flight Jews to interpret his music when he needed them. So he was a hypocrite as well. Wagner also engaged in the German revolution of 1848-1849). He took part in the Dresden uprising and had to flee the country when a warrant for his arrest was issued. But he was, as well, a genius, a composer of unique and profound operas. And this was breathtakingly in evidence at the Concert Hall on Sunday when Asher Fisch presided over an account of Tristan and Isolde, presented in concert version.
In incompetent hands, Tristan and Isolde can all too easily sound dismayingly, endlessly dreary. But when there’s a conductor of highest accomplishment on the podium, an orchestra consistently on its musical toes and a cast of A1 singers, the result can be immensely rewarding – and this was most certainly the case on Sunday.
Star of the afternoon was that most gifted of singers: Stuart Skelton. As the eponymous hero of Wagner’s masterpiece, this extraordinary musician was beyond reproach, his every utterance as meaningful as one could ever hope to experience. With flawless diction, he gave point and meaning to the subtlest detail. Again and again, one listened to incontrovertible evidence of Skelton’s right to be considered heldentenor par excellence. He brought immense physical presence to his performance, moving about the front of the stage as if it was his natural milieu, his every gesture meaningful. Within moments of his first utterance, it was unequivocally clear we were in the presence of a Wagnerian master.
Gun-Brit Barkmin, standing in at very short notice to replace an indisposed Eva-Maria Westbroek, sang Isolde with care and understanding. Her voice blended well with that of Skelton – and their extended duos brimmed with an emotional power that was almost palpable. Their combined contribution bordered on the sublime. Bravissimo!
Bearing in mind that this was a concert version of the opera with singers positioned in a row in front of the orchestra on a stage devoid of theatrical lighting and props, the interpretative intensity brought to bear on the work was frankly astonishing – and gratifying. Throughout, Fisch’s powerful identification with the work enabled him to extract maximum effect from his forces. Trumpets, trombones and horns were in exceptional form as were the strings.
While Tristan and Isolde dominate the opera, there are crucially important supporting roles. I was particularly impressed by the singing of Ain Anger as King Marke. In fine voice and the epitome of regal dignity, he conveyed very effectively, his disappointment and anger towards Tristan who has taken the monarch’s intended bride (Isolde) from him. And as Brangane, Isolde’s maid-in-waiting, Ekaterina Gubanova sang with impressive confidence. Boaz Daniel, too, brought presence and vocal skill to the smaller role of Kurwenal.
Sally Kester, drawing on her immense knowledge of Wagner and his works, offered, as ever, fascinating insights into the opera in her pre-performance talk.
