ENO: Tristan and Isolde ★★★★

Many opera lovers know that there is much luscious music to discover with Wagner’s Tristan and Isolde. The climactic love-death song that is Liebestod (otherwise known as Isolde’s Verklärung), the glorious intensity of the score alongside the romantic verse written by the German composer himself are a few reasons, out of many, as to why it is considered a landmark opera which has influenced music history. Not forgetting the tragic story where two lovers down a love potion which leaves them stuck in a world they cannot exist together in.

The English National Opera (ENO) last staged Wagner’s visceral opera twenty years ago, yet its newly appointed artistic director Daniel Kramer has introduced a new production with grand designs by award-winning contemporary artist Anish Kapoor – the man who designed the Orbital Tower at the heart of the Olympic Park and controversial sculptures for the French palace of Versailles. 

The inspiration behind Wagner’s four-hour opera includes his admiration for Arthur Schopenhauer and his metaphysical ideas of the annihilation of the self, as well as his keen interest in medieval literature and another love; a love that is revealed through various letters he wrote to the wife of his benefactor, Mathilde Wesendonch.

Although Wagner was already married, living in exile in Switzerland for his part in the Dresden Uprising of 1894, he felt compelled to write the ‘most full-blooded musical conception’. One could describe Wagner’s reasons for composing his monumental opera as a way of hammering out a message to Mathilde or releasing his own frustrations on such a sensitive situation. Regardless of his motivations, one thing that cannot be negated is the biopic nature the opera had on Wagner, where ‘words, stage setting, visible action, and music come together in closest harmony towards the central dramatic purpose.’

The ENO’s previous musical director Edward Gardner returns to his former residence, and in this case for Wagner’s Tristan and Isolde, which he performs with warmth and vitality from start to finish. The ENO Orchestra also presents Wagner’s Gesamtkunstwerk (total artwork) exquisitely - the prelude and lovely ‘Tristan chord’, which lingers throughout the opera are a wonder to hear. 
Following the nihilistic notions of Schopenhauer; the yearning for the dark, escape from the realities of the day in exchange for an existence beyond the physical, light plays a huge part of the production's staging and this is executed by Paul Anderson’s light designs, which assists Kapoor’s large scale artworks. However, some audience members may feel a bit left behind with what they see before them.

A golden stage divided by three, a huge ball sliced in half with our lovers hiding in its inner cave, and a ripped out hole, which releases blood, are the artist’s ‘vision for a complete artistic experience’, yet these abstract works can appear ambiguous unless one is familiar with Kapoor’s work. Much praise goes to the visual lighting effects that take place on stage, but a visually stimulating stage isn’t necessary for a grand opera that is already a musical masterpiece in its own right.

The production’s costumes, designed by Christina Cunningham, are filled with characteristics from a Star Wars movie, which also seem weak in relevance to the opera or Kapoor's complex staging despite their craft and sophistication.

Nonetheless, justice can be found from outstanding performances including Stuart Skelton as Tristan. His robust and silvery voice makes his Tristan a triumphant performance which is no surprise for a tenor who received positive reviews for his role as Peter Grimes at the ENO. Karen Cargill, as Brangäne, and Craig Colclough, as Kurwenal, sing effectively and energetically while Matthew Rose deeply impresses and charms the audiences as elderly King Marke. 

Making her debut at the ENO is Heidi Melton. Many members of the audience sob as she closes the opera with her version of Liebstod. Singing the role of Isolde is a tough challenge, bestowing a devoted and headstrong princess but Melton doesn't falter. She is solid in the beginning scenes, but performs best at its conclusion, rendering the auditorium speechless. It is a touching sight seeing Isolde sing romantic words, similar to a sonnet, as she holds Tristan's face - an image that will stay with me for a long time. 

Tristan and Isolde is playing at the London Coliseum until July 9. Click here to book tickets. 

Climax!Heidi Melton gives us the catharsis needed. I haven't cried, at an opera, like that for months! #ENOTristan 😵 pic.twitter.com/3VlxdfVlUv

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2016

Mind the blood!
Bravo tutti @StuartSkelton @cargillmezzo @roseandfriends @hojotoheidi.Another spectacular production pic.twitter.com/YrkLJwlzOi

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2016

@hojotoheidi @cargillmezzo @AnnieLydford The upper circle was filled with sobbers.I had my hand on my chest, couldn't stop the tears. Boo!

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2016

Quality cast, orginal set designs by an award-winning artist,glorious conducting, passionate playing, and most of all - Wagner! #ENOTristan

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2016

Anish Kapoor's set designs are an artistic marvel.He's placed @StuartSkelton (Tristan) &Heidi Melton on a mystical moon in Act 2 #enotristan

— Mary Grace Nguyen (@MaryGNguyen) June 26, 2016

ENO: Richard Jones' The Girl of the Golden West (La fanciulla del West) ★★★★★

It’s been an interesting year for English National Opera (ENO). Ever since the funding cuts from the Arts Council and onslaught of mixed reviews for their recent productions of Xerxes and Otello, it appeared that the ENO were getting a bit of a bad reputation. They were criticised for poor stage direction, lack of imagination and, repeatedly, denounced for their use of English in Italian operas; yet Richard Jones’ production of Puccini’s The Girl from the Golden West (La fanciulla del West) has bolstered up standards, reviving hope and optimism for the ENO stage. 

Puccini’s ‘magnus opus’ namely La fanciulla del West is said to be his best work and from the score alone there's no denying that the opera, which flourishes with melody, grandeur and influences from Debussy, Stravinsky and Richard Strauss, can captivate even the coldest philistine. The prosperity of the opera stems from Puccini's ability to capture the Western mysticism of the 1850s' Californian Gold Rush. Despite, the opera, having little prominence, like La Rondine, the ENO's production, with Susan Bullock’s masterful voice, Miriam Buether's tough Western set designs and delightful chorus singers, will make audiences’ emotions overflow.

The conductor Keri-Lynn Wilson, who had her UK operatic debut, instills grace and tenderness into Puccini’s score as he would have foreseen it. The music soars and reaches a climax in the overture, Minnie’s on stage entrance and the lovers ‘first kiss’ scene; yet this triumphant music interweaves nicely to compliment Minnie's self-efficient and heroine-like character. The ENO male chorus do an impeccable job too portraying homesick miners, parading in a saloon with guns and gambling cards.

Our cast is dressed close to a rough mining environment; but not as far back as the 1850s’s as Guelfo Civinini and Carlo Zangarini ‘s libretto describes it. Buether's stage is set up like a Western saloon with large letters that read ‘POLKA’ at the top with brightly lit beer bottles neatly displayed on the wall. By act II we are presented with a two-floor cut out home and a US Marshall office by the third act with nothing special attached to it; but this - just - demonstrates how profound the music and easy to follow the story line truly is.

Minnie (Bullock) is the woman of the miners' town who teaches stories from the bible and is loved by all particularly the Sheriff, Rance (Craig Colclough) who she rejects after numerous proposals including $1000 just for a kiss. She sings, 'Real love cannot be purchased’ and insists on waiting for the right man and then, enters Dick Johnson from Sacramento (Peter Auty) who bedazzles her with metaphors and adorable dancing though, it turns out that, Dick is actually the Spanish bandit, Ramerrez who the town want dead. This puts Minnie’s character under the spotlight, which is why she's an interesting prima donna: she's no damsel in distress. 

Bullock's Minnie is an outstanding one as her independent spirit radiates through Bullock's exuberant top notes. There’s always a thin line between screaming and singing; yet Bullock manages to give an astounding performance without crossing the line. Auty's Ramerrez was also charming and a good match for Minnie who released poignancy in their love duets, in act II, with the company of flutes and strings, even if sung with an American accent. Their voices gave me a warm and fuzzy feeling.  

Colclough’s Rance was a seedy baritone who lusted for Minnie’s body; yet what’s interesting is that although Rance plays the jealous bad cop, his character is balanced out through his reluctance to hurt Minnie, in the end, which proves he's not the token baddie after all. Other great voices included Graham Clark as Nick, Sonora by Leigh Melrose and Jake Wallace sung exquisitely by George Humphreys. Going back to the debacle on the ENO’s use of English, considering that the opera was set in the Wild West English was - perhaps - the most appropriate and ideal language to employ to The Girl of the Golden West, which was perfectly translated by Kelley Rourke. This made such an incredible difference that tops up the amazing and breathtaking score of Puccini. Well done ENO!

Click here for more details - Showing until 1st November 2014 at the ENO.
I purchased my ticket for the opera.