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"Tristan and Isolde" Complete Music Drama - Richard Wagner

Bayreuth Festival Orchestra & Choir conducted by Karl Böhm. For a list of singers: https://tinyurl.com/27sy5sce I - Akt I Vorspiel (0:00) - "Westwärts schweift der Blick" (10:36) - "Frisch weht der Wind der Heimat zu" (16:09) - "Weh, ach wehe! Dies zu dulden" (25:26) - "Auf! Auf! Ihr Frauen!" (44:00) - "Herr Tristan trete nah!" - "Begehrt, Herrin, was Ihr wünscht" (50:50) - "Tristan! - Isolde! Treuloser Holder!" (1:08:47) II - Akt II Vorspiel (1:15:19) - "Hörst du Sie noch?" (1:17:15) - "Isolde! Geliebte! - Tristan! Geliebter!" (1:30:22) - "O sink hernieder, Nacht der Liebe" (1:45:28) - "Einsam wachend in der Nacht" (1:50:17) - "Lausch, Geliebter!" (1:52:46) - "Doch unsre Liebe, heißt sie nicht Tristan und - Isolde?" (1:56:55) - "So starben wir" (1:59:07) - "Rette dich, Tristan!" (2:06:42) - "Tatest du's wirklich?" (2:08:23) - "O König, das kann ich dir nicht sagen" (2:19:26) III - Akt III Vorspiel (2:27:42) - Man hört einen Hirtenreigen (2:31:53) - "Kurwenal! He!" (2:34:28) - "Hei nun! Wie du kamst?" (2:42:37) - "Noch losch das Licht nicht aus" (2:51:56) - "Noch ist kein Schiff zu sehn!" (2:56:55) - "Bist du nun tot?" (3:08:08) - "O diese Sonne!" (3:17:12) - "Ich bin's, ich bin's" (3:20:23) - "Kurwenal! Hör!" (3:25:23) - "Mild und leise wie er lächelt" (3:32:44) Wagner's "Tristan and Isolde" was composed between 1857-9, but conceived much earlier in 1854. While he was working on "Siegfried", the third part of the tetralogy of "The Ring of the Nibelung", the new project displaced the completion of the Ring. After being finished, multiple performances were attempted but failed. It was only after King Ludwig II of Bavaria became a sponsor of Wagner that enough resources could be found to stage the work. It was premiered at Munich's National Theatre house on June 10 of 1865, conducted by Hans von Bülow. It was not well-received, audiences and critics being shocked and repulsed by its overt sensuality and advanced musical language. Wagner came to realize that while Tristan's production requirements might be comparatively modest, its musical demands on the principals and orchestra exceeded anything then known. It is these demands that made the score the landmark that it is. The two lead singers carry most of the burden, needing extraordinary musicianship and stamina as well as superlative acting skills, but the large orchestra is also kept continuously challenged with chromatic polyphony and colouristic effects ranging from piercing blasts to the most delicate solos. Structured in three acts, the drama is loosely based on the medieval 12th-century romance "Tristan and Iseult", by Gottfried von Strassburg. It is infused in part by the philosophy of Arthur Schopenhauer, as well as by his relationship with his muse Mathilde Wesendonck. Wagner's had also composed five songs to poems by her, with whom he had become deeply infatuated, two of which he designated as studies for "Tristan and Isolde". The drama is widely acknowledged as one of the greatest achievements of Western art music, intriguing audiences with philosophical depths not usually associated with opera, and the "terrible and sweet infinity" of its musical-poetic language. Wagner himself acknowledged that with the composition of Tristan, he transcended the musical and dramaturgical theories he set out in his earlier treatises. Indeed, the musical language of Tristan has long been acknowledged as the beginning of musical modernism (announced by the famous opening Tristan chord of the prelude). The harmonic language is characterized by unprecedented use of chromaticism, tonal ambiguity, orchestral colour, and prolonged harmonic suspension. In addition, heaving as it does with prolonged courses of unresolved dissonances, not only enacts musically the sexual tension between the opera's two central characters, but also points to the liberation of dissonance from the constraints of tonality that Arnold Schoenberg and others in the twentieth century would champion. While these innovations divided audiences initially, the opera grew in popularity and became enormously influential among postromantic classical composers, providing direct inspiration to Anton Bruckner, Gustav Mahler, Richard Strauss, Alban Berg and Arnold Schoenberg. Picture: "Tristan and Isolde (Death)" (1910) by the Spanish painter Rogelio de Egusquiza. Sources: https://tinyurl.com/29gxr94u, https://tinyurl.com/2aqtmhmy and https://tinyurl.com/28jbfqgw Score: https://tinyurl.com/y9jky4kd