Prom 34 (31.08.21) - Wagner’s Tristan & Isolde

[Ein Heldenleben]

I've just had a glance at the schedule for the Bayreuth productions of Tristan und Isolde, in particular the celebrated productions in 1952 (Karajan) and 1976 (Carlos Kleiber/Horst Stein).

1952
23/7/52
2/8/52
7/8/52
20/8/52
25/8/52

1976
30/7/76
3/8/76
11/8/76
19/8/76
23/8/76
28/8/76

There are substantial breaks here which would have allowed the respective Tristans (Ramon Vinay in 1952) and (Spas Wenkoff in 1976) time to recover. Neither singer had any other engagements in Bayreuth in those years.

One can't help but think that the Glyndebourne schedule was unfair to Simon O'Neill and, if true that the orchestra at the Prom was too loud, then the buck stops with the conductor.

3 days is the standard minimum break for Wagner (also some Puccini and most Verdi - other big voice “spinto” roles ) . Two days is pushing it. Though Glyndebourne is smaller than most opera houses - it should be possible to rein things there compared to the Coliseum or RAH

[Bert Coules]

On the discussion point about King Marke's monologue... Tristan and Isolde are in an other-worldly state in Act II, while King Marke (and Melot) are more in the realm of the everyday world. When they barge into Tristan and Isolde's other-world, it's meant to bring them back to earth.

This I think is a valid argument, more so than the "give the leads a rest" one (when was Wagner ever that considerate?) but I still maintain that for an audience today, the same purpose could have been achieved in a great deal less time. It can be argued of course that the work wasn't written for today's public, and on that point it would be interesting to know if any commentators in Wagner's day ever singled out Mark's droning whinge-fest for particular comment. Has anyone ever published a collection of early reviews, criticisms and the like? And if not, why not? It would be fascinating.