I had expected the second half of my headline on this blog report to read “The Legend Continues” as a new soprano sings the role of Isolde, but that is not the story of this performance. When expectations are so high, the pain cuts deep. I went to the National Symphony Orchestra’s concert version of Act II of Tristan und Isolde Friday night expecting that soprano Christine Goerke was going to knock my socks off. I wanted her to knock my socks off; in fact, I needed her to knock my socks off. Instead, for some reason, she allowed the Wagnerian thumping NSO to overwhelm her sound and it didn’t have to try that hard. There is so much that was excellent Friday evening and that I enjoyed, but it was Ms. Goerke’s holding back that impaled me like Melot’s thrust into Tristan’s side to end Act II. I have been a fan of Christine Goerke ever since seeing her sing Turandot at the Met a few years back, and my expectations were very high. Even this morning, I feel wounded by disappointment. In fairness, I must add that it was an exiting evening and the audience ate it up, offering a thunderous standing ovation that brought the performers out for a second round of bows.
The National Symphony Orchestra in the Kennedy Center Concert Hall beginning Act II of Tristan und Isolde. Photo by Scott Suchman; courtesy of the National Symphony Orchestra.
Why refer to Richard Wagner’s Tristan und Isolde (1865) as legend? There is quite a history to this opera. It has reportedly ruined singers’ voices and driven some performers mad; the opera runs almost four hours long. It took several years to compose and several more to bring to the stage. Wagner’s telling of this well known fable reflects aspects of his own love life and philosophical maturation. Love for these lovers becomes all consuming even to a metaphysical state. It’s style of composition and use of music was something new for its time and is considered to have constructed a new musical language for extended expressions of passion/eroticism, and made great demands on conductors and singers. Even today it requires certain voice types and extensive training. In comments made back in January introducing NSO’s new season, conductor Gianandrea Noseda stated that he viewed music as “before Tristan und Isolde” and “after Tristan und Isolde”. For the music world, Tristan und Isolde was an inflection point not only for opera, but for music itself.
Stephen Gould as Tristan and Christine Goerke as Isolde. Photo by Scott Suchman; courtesy of the National Symphony Orchestra.
Adding to interest was the fact that two of today’s premier performers, Mr. Noseda and Ms. Goerke, were venturing into this opera for the first time. Indeed, Ms. Goerke needed to glance at the music on a stand while no one else in the cast did; Act II is primarily a duet between Isolde and Tristan. This production was such an appealing event that it lured NY Time critic Anthony Tommasini down to the Kennedy Center for a review. He referred to Mr. Noseda and Ms. Goerke as “testing the Wagnerian waters” and said that Ms. Goerke demonstrated “sheen, but lacked blaze”; might he have been a little disappointed? Washington Classical Review critic Charles Downey said that “this was an Isolde of more subtle delights”; hmmmm. When I asked my son what he thought of Ms. Goerke’s performance, he simply said he couldn’t hear her - ouch - but, all too often, neither could I. There were a few sublime moments, such as the last few arias of their love duet, especially the hauntingly beautiful melody of “So starben wir (Thus, might we die)”. If this was a trial run for Ms. Goerke to hone her take on Isolde, she must at least somehow find a way to be heard over an orchestra playing Wagner’s tumultuous music. That seems to me to be quite a challenge even when singing full force, as near the end. I’m still a huge fan, though I am disappointed by her performance (choices?) this time.
Ekaterina Gubanova as Brangaene and Christine Goerke as Isolde. Photo by Scott Suchman; courtesy of the National Symphony Orchestra.
Which brings me to the National Symphony Orchestra’s performance under the direction of star conductor Gianandrea Noseda. I love the National Symphony Orchestra. I think it should be an essential element of a required course for graduation from high school and college. If you read OperaGene often, you know that I’m a music lover, not a music expert, so keep that in mind. I was delighted to hear the full NSO on stage playing the music to an opera, quite a treat. (I regularly attend performances of Washington Concert Opera and Baltimore Concert Opera). Though intimidated at first, I have become a Wagner fan; Washington National Opera’s Ring Cycle a few years back is one of my favorite opera experiences (Ms. Goerke came in to give us a terrific Bruunilde for one espisode when the scheduled soprano was injured). Mr. Noseda is scheduled to conduct a Ring Cycle himself in the Zurich Opera House where he also serves as General Music Director. On this occasion, I greatly enjoyed NSO’s playing, though it seemed a little raw in spots, sometimes not so smooth or refined, part of that at least due to Wagner’s music itself, I suspect. Also, occasionally the music overpowered the singers, rather often in Ms. Goerke’s case. With Wagner it is not always clear if the orchestra is accompanying the singers or the singers are accompanying the orchestra. The composer felt the vocal line expressed concrete thoughts, ideas, feelings, and what the orchestra expressed was primal feeling that could not be articulated. Thus, much time of critics and musicologists has been spent on the meaning of Tristan und Isolde. All I can say is that if Wagner’s music hooks you, you are seriously hooked. Bottom line - I would definitely go again to hear NSO play Wagner. In fact, let me make this a plea to NSO – more concert opera, please!
Günther Groissböck as King Marke, Stephen Gould as Tristan, and Christine Goerke as Isolde. Photo by Scott Suchman; courtesy of the National Symphony Orchestra.
The remainder of the cast was excellent and performed beautifully. I was quite impressed with Stephen Gould’s tenor voice and singing. A big surprise for me was mezzo-soprano Ekaterina Gubanova who played Brangaene. At the point where Tristan and Isolde start to embrace, I heard this beautiful sound, loud and clear, and I thought, at last, Goerke is going to turn it on, but I spotted Ms. Gubanova on the stage balcony singing to warn the lovers; it was the servant girl’s voice I was enjoying. Tenor Neal Cooper acquitted himself well as Melot as did baritone Hunter Enoch as Kurwenal in his brief entrance. Bass-baritone Günther Groissböck was outstanding as King Marke. I find Marke’s entrance at the point where he learns his closest supporter and friend Tristan has betrayed him to be one of the most poignant scenes in opera and Mr. Groissböck carried it off exceedingly well.
l to r: Hunter Enoch, Neal Cooper, Stephen Gould, Gianandrea Noseda, Ekaterina Gubanova, and Christine Goerke. Photo by Scott Suchman; courtesy of the National Symphony Orchestra.
Friday nights’ was the second of only two performances. If there were more, would I recommend them? That question ties me up. I’m glad I went and enjoyed the experience despite my disappointment in not getting the performance I wanted from Ms. Goerke. So, I’ve told you my reactions; that’s the best I can offer for this one. But see below for how you can view a recording of the performance online.
The Fan Experience: Certainly, having this cast of singers and the NSO performing Wagner made a compelling case for this concert. However, Act II began without an introduction. It was probably safe to assume that most people in Friday night’s audience were familiar with Tristan und Isolde. But suppose, you started Game of Thrones with episode 2. You would be beginning without some important background information, and more importantly, your emotions about the characters and events would have to get up to speed very quickly. I felt that way Friday night; it has been a while since I viewed this opera. An introduction to allow us to get into the emotional moment might have been helpful. As part of my plea to NSO, I will add to do complete operas in concert; short ones are okay, but at least set the scenes for single act performances.
The Friday night performance was broadcast live online by medici.tv, and the recording is currently available for viewing; however, medici.tv is a subscription service and you will have to sign up for at least a month ($12.99)to view the entire Act II, though you can watch the prelude for free (if you like the service, until the end of November there is a 40% discount for year’s subscription). I’m debating whether to sign up. I wonder if the placement of the microphones might allow Ms. Goerke’s voice more prominence. The sound in the Concert Hall was recorded but not amplified nor broadcast through speakers.