Organization

Conductor

Peter Valentovic

Stage director

Anton Korenči

Dramaturge

Stanislav Trnovský

Lighting designer

Róbert Farkas

Translator

Linda Fintorová

Singer

Soprano

Eliška Weissová

Isolde

Tenor

Titusz Tóbisz

Tristan

Bass

Michal Onufer

König Marke

Mezzo-soprano

Myroslava Havryliuk

Brangäne

Baritone

Martin Kovács

Kurwenal

László Havasi

Melot

Maksym Kutsenko

Stimme eines jungen Seemanns

Róbert Šudík

Thomas Mann

Matej Marušin

Klaus Mann

Štátne divadlo Košice

Orchestra

ŠDKE Orchestra

Gearmáinis

Tristan und Isolde (reduction) -  (Tristan and Isolde (reduction))

Košice

Slovakia

Tristan und Isolde Wagner,Richard

Public

Tristan and Isolde (reduction)

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Teacher

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Contralto

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Tristan and Isolde is one of Richard Wagner's masterpieces, this opera is considered an imaginary Olympus, to which opera theaters all over the world can reach. Opera ŠDKE under the baton of chief conductor Petr Valentovič will present scenes from the opera.

“It was at the same time that my infatuation with Richard Wagner's work was at its peak or nearing its peak: I say 'passion' because simpler words like 'love' and 'enthusiasm' would not have accurately captured the relationship. The years when a person is capable of the greatest devotion are often also the years of greatest psychological excitement, which in my case was heightened in a sense by critical reading; and devotion together with knowledge - that is passion. Inwardly, the most difficult and fruitful experience of my youth was the discovery that passion is clairvoyant—or not worthy of its name at all. Blind love, nothing but solemn, glorifying love—a beautiful simplification.”

"Why exactly this work, even with the most personal synthesis, overflowing with these props, should captivate all mankind with its creation and save the world, only the gods know. It is ever-present in Wagner's swagger, in his eternal self-congratulation, in his constant self-deprecation, in his need to express himself about everything, in the unspeakable immodesty that typifies Hitler, there is naturally much of 'Hitler' in Wagner - sure, you missed that, you had to miss it – how could you relate the work you serve to Hitler! It was associated with him for a long time.” Thomas Mann on Richard Wagner

Wagner's Tristan and Isolde influenced not only the musicians of the 19th century, but also the development of music in the 20th century. Many books and publications have been written about this opera, the "Tristanov chord" itself, which sounds in the second bar of the overture, has become the subject of research not only by musicologists.

Wagner had no less influence on his contemporaries and followers in other spheres of art – in the first place we see the German writer Thomas Mann, winner of the Nobel Prize in 1929, who was influenced not only by Wagner's music, but also by his philosophy. His relationship with the famous composer went from youthful passion to later skepticism, but even in his old age he did not stop loving his narcotic music.

Reading from the works of Thomas Mann and his son Klaus Mann, together with Wagner's music for Tristan und Isolde, reveals not only the impact of this work on the near and future generations, but also the extremely complicated relationship between father and son Klaus, who, like his father, was a writer, a representative of a new generation and a rebel and who ended his life by suicide in 1949.

R. Wagner: Tristan and Isolde 

Prelude 
Song of the Young Sailor, "Westwärts schweift der Blick"
Isolde's monologue from Act 1, "Wie lachend sie mir Liedersingen"
Interlude to the 5th scene of the 1st act
Love Duet from Act 2, "O sink hernieder, Nacht der Liebe"
King Marke's Act 2 Monologue, "Tatest du's wirklich"
End of Act 2, "O König, das kann ich dir nicht sagen"
Prelude to Act 3
Shepherd's tune, solo for English horn
Isolde's death from love, "Mild und leise wie er lächelt"
Texts from the works and letters of Thomas and Klaus Mann:

Schopenhauer, Wagner, Nietzsche (Thomas Mann: Betrachtungen eines Unpolitischen)
About the art of Richard Wagner (Thomas Mann: Über die Kunst Richard Wagners)
Letter from Thomas Mann to the German writer Carl Maria Weber, dated July 4, 1920
Unclosed Wagner, letter to Emil Preetorius from 1949 (Thomas Mann: Wagner und kein Ende)
Death in Venice (Thomas Mann: Der Tod in Venedig)
Friedrich Hölderlin: the poem Socrates and Alcibiades
Ricki Hallgarten – Radicalism of the Heart (Klaus Mann: Ricki Hallgarten – Radicalism des Herzens, essay)

English

Tristan a Izolda patrí k vrcholným dielam Richarda Wagnera, táto opera je považovaná za pomyselný Olymp, na ktorý operné divadlá na celom svete môžu dosiahnuť. Opera ŠDKE pod taktovkou šéfdirigenta Petra Valentoviča uvedie scény z opery.

„Bolo to v tom istom čase, keď vrcholila alebo sa blížila k vrcholu moja náruživosť k umeleckému dielu Richarda Wagnera: povedal som ‚náruživosť‘, lebo jednoduchšie slová ako ‚láska‘ a ‚nadšenie‘ by verne tento vzťah nevystihli. Roky, keď je človek schopný najväčšej oddanosti, nezriedka bývajú aj rokmi najväčšej psychologickej vzrušivosti, ktorú v mojom prípade ešte väčšmi vyostrovalo v istom zmysle kritické čítanie; a oddanosť spolu s poznaním – práve to je náruživosť. Vnútorne najťažšou a najplodnejšou skúsenosťou mojej mladosti bolo zistenie, že vášeň je jasnozrivá – alebo vôbec nie je hodná svojho mena. Slepá láska, nič iné ako slávnostná, velebiaca láska – krásne zjednodušenie.“

„Prečo práve toto dielo, aj pri najosobnostnejšej syntéze preplnené týmito rekvizitami, by malo uchvátiť svojou tvorbou celé ľudstvo a spasiť svet, vedia len bohovia. Je to neustále prítomné vo Wagnerovom chvastúnstve, vo večnom sebablahorečení, v neustálej samovrave, v potrebe ku všetkému sa vyjadriť, v nevýslovnej neskromnosti, ktorá je predobrazom Hitlera, vo Wagnerovi je prirodzene veľa z ‚Hitlera‘ – iste, to ste vynechali, museli vynechať – ako by ste mohli dávať dielo, ktorému slúžite, do súvislosti s Hitlerom! Dosť dlho sa s ním spájalo.“ Thomas Mann o Richardovi Wagnerovi

Wagnerovo dielo Tristan a Izolda ovplyvnilo nielen hudobníkov 19. storočia, ale i vývoj hudby v 20. storočí. O tejto opere boli napísané mnohé knihy a publikácie, samotný „tristanovský akord“, ktorý zaznie v druhom takte predohry, sa stal predmetom skúmania nielen muzikológov.

Nemenší vplyv mal Wagner na svojich súčasníkov i nasledovníkov v iných sférach umenia – na prvom mieste tu vidíme nemeckého spisovateľa Thomasa Manna, nositeľa Nobelovej ceny z roku 1929, ktorý bol ovplyvnený nielen Wagnerovou hudbou, ale i jeho filozofiou. Jeho vzťah k slávnemu skladateľovi prešiel od mladíckej vášne až po neskoršiu skepsu, ale ani v starobe jeho narkotickú hudbu neprestal milovať.

Čítanie z diel Thomasa Manna a jeho syna Klausa Manna odkrýva s Wagnerovou hudbou Tristana a Izoldy nielen dosah tohoto diela na blízke i budúce pokolenia, ale i nanajvýš komplikovaný vzťah otca so synom Klausom, ktorý bol rovnako ako otec spisovateľom, predstaviteľom novej generácie i rebelom a ktorý ukončil svoj život samovraždou v roku 1949.

R. Wagner: Tristan a Izolda 

Predohra 
Spev mladého námorníka, „Westwärts schweift der Blick“
Monológ Izoldy z 1. dejstva, „Wie lachend sie mir Liedersingen“
Medzihra k 5. scéne 1. dejstva
Ľúbostný duet z 2. dejstva, „O sink hernieder, Nacht der Liebe“
Monológ kráľa Markeho z 2. dejstva, „Tatest du's wirklich“
Záver 2. dejstva, „O König, das kann ich dir nicht sagen“
Predohra k 3. dejstvu
Nápev pastiera, sólo pre anglický roh
Izoldina smrť z lásky, „Mild und leise wie er lächelt“
Texty z diel a listov Thomasa a Klausa Mannovcov:

Schopenhauer, Wagner, Nietzsche (Thomas Mann: Betrachtungen eines Unpolitischen)
O umení Richarda Wagnera (Thomas Mann: Über die Kunst Richard Wagners)
List Thomasa Manna nemeckému spisovateľovi Carlovi MariaWeberovi zo dňa 4. júla 1920
Neuzavretý Wagner, list Emilovi Preetoriusovi z roku 1949 (Thomas Mann: Wagner und kein Ende)
Smrť v Benátkach (Thomas Mann: Der Tod in Venedig)
Friedrich Hölderlin: báseň Sokrates a Alkibiades
Ricki Hallgarten – radikalizmus srdca (Klaus Mann: Ricki Hallgarten – Radikalismus des Herzens, esej)

slovenčina

Tristan and Isolde (reduction) by Wagner, Richard, hAo 24 Méit 2022, Ó (2021/2022), Faoi stiúir Anton Korenči,, Seoltóir Peter Valentovic

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Clár, Eolas & Achoimre

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid