Tristan and Isolde by Wagner, Richard, al. 20 eka. 2022, Noiztik (2022/2023), Zuzendaria Krzysztof Warlikowski, Zuzendaria Lothar Koenigs, Juraj Valčuha, Nationaltheater, Munich, Germany

In hardly any other opera is the genre-typical conflict of a triangular relationship so elementary and ultimately transcendent as in Richard Wagner's Tristan und Isolde: The love of Tristan and Isolde as a passion is above all social norms. King Marke is betrayed by her and Tristan as Isolde's rightful husband, and Wagner's music certifies and legitimizes adultery. Already in the first act, a longing for death leads Tristan and Isolde to the plan of double suicide. What is the psychological origin of this death wish? Unknowingly, the protagonists take a love potion instead of the death potion. Do the now exuberant emotions really only arise from a supposedly magical love spell? Music, too, crosses all boundaries, as Wagner exhausted the traditional tonality in chromatic sounds and thus significantly influenced modern composition techniques into the 20th century. The ambivalent harmonic course