Ressenyes de producció anteriors
2tage director Claus Guth focused on the passionate love story between the two, and highlighted its intimate facet by setting the action in a 19th century high-middle class apartment. Isolde wakes up in the morning in her bedroom to the nicely sung outside melody, and asks to see Tristan. The sets, designed by Christian Schmidt (who also took care of the costumes), featured a revolving structure that showed the elegantly furnished rooms of the apartment. In this way, the director was able to add some action to this otherwise quite static opera. Five hours has elapsed, and while part of the audience had left the house earlier, there were still enough spectators left to pay a big tribute of applause to all the cast members, who had accomplished the deed of bringing back Wagner’s masterpiece to Turin after a ten-year absence. And this was indeed deserved. For Maestro Gianandrea Noseda this was the first Tristan. The conductor prepared with great care for this debut, and worked out all the details with the orchestra of the Teatro Regio, which played with commitment and produced a compact, vibrant sound. The chorus, instructed by Claudio Fenoglio, contributed to the success of the performance.
Davide Amadei's scenic design consists of an inclined floor placed diagonally, a wooden parquet cut vertically in half to act as a curtain that, when raised, reveals an environment surrounded by walls in the pattern of an overwhelming wooden coffered ceiling. Costumes are evening dresses for the female characters while Orpheus is barefoot in a white suit and Apollo in a gilded outfit. Even more bizarre are those worn by Charon and Pluto. In Pizzech's direction the entrance of both Music and the Messenger are flatly realized while Charon's boat goes back and forth just a few feet to carry wild souls which, with their rumpus, divert the attention from Orpheus trying to sweeten Hades' ferryman. A full range of expressive modes is highlighted through a colourful, rich palette, both instrumentally and vocally. This makes Monteverdi's work a masterpiece still wholly enjoyable today.
