After the success of the Jonathan Dove chamber arrangement of The Ring, and the recent widely praised production by Regent’s Park Opera, downsizing Wagner has become not just acceptable, but fashionable. There are clear advantages – the singers are under less pressure to project over an orchestra at full tilt, the harmonic daring and originality comes through starkly, and certain instrumental lines that can be lost in the textural complexity can be heard independently. There is a loss of overwhelming impact at key moments to be sure, but the ear adjusts and the emotional compass recalibrates.
All of these aspects were present in the fine adaptation of Tristan at Grimeborn, presented with great dramatic lucidity by director Guido Martin Brandis. In line with the pared-down warehouse aesthetic of the Arcola’s Studio 1, this production does not try to juggle with the full weight of Schopenhauer that sits within the libretto and instead concentrates on projecting the clean lines of the drama. Gestural acting is selective, significant and meaningful between the main characters. The set offers hints of the ship in the first act, a love nest for the second, and a sick-bed in the finale; but the tone is set by the excellent expressionist lighting as much as by the basic drapes, tin-foil backcloth and balcony watch tower. The focus is very much on the presentation of the confronting glories of the music, which even on this reduced scale comes across in all its startling, angular, uncomfortable modernity. It is still hard to believe that this opera was completed in 1859…
The stand-out performance of the evening is from Elizabeth Findon, as Isolde, whose indefatigable vocal powers carry her through effortlessly from the the anger and defiance of Act One, to the embrace of Night in an exceptionally atmospheric performance of Act Two, and culminating in a triumphantly transcendant performance of the Liebestod. For a young singer to be so inside and on top of this hugely demanding role is truly remarkable.
Opposite her, as Tristan, Brian Smith Walters is less subtle and sometimes strained (especially in the exceptionally demanding proto-Freudian agonisings of Act Three), but their synergy in the central panel of the opera is wholly convincing, reminding you forcibly of how astonishingly penetrating this opera is in analysing romantic passion and self-absorption.
The central performances are well supported by some technically accomplished and well acted contributions. Lauren Easton is an exceptional Brangane, sweet of voice but feistier of temperament than usual; and Oliver Gibbs, while vocally a bit rough at the edges, is a model of four-square loyalty as Kurwenal. Simon Wilding’s vibrato is a bit distracting at points, but he is fully to the pitch of King Marke’s disappointed, broadly empathetic humanity, so that his key monologue is deeply affecting. David Horton plausibly differentiates the remaining minor roles to good effect.
David Thrift holds the evening together admirably with an orchestra of five players, supported with off-stage contributions from cor anglais and horns. Tempi were quite brisk, yet the key climaxes were carefully and convincingly assembled. I particularly appreciated the unanchored meandering melancholy of the cor anglais solo at the start of Act Three and the long, plangent lines for the cello that provided a continuous commentary on events. There was also a more than sufficient illusion of lush string tone to underpin the deep-dive romanticism at the opera’s centre.
This was a very fine and memorable evening with talent, stamina, and thoughtfully projected dramatic vigour running successfully through it that reflected well on all concerned.
Libretto & Music by Richard Wagner
Director: Guido Martin-Brandis
Conductor & Arranger: Michael Thrift
Cast: Lauren Easton, Elizabeth Findon, Oliver Gibbs, David Horton, Brian Smith Walters, Simon Wilding
Until 16 August 2025
4 hrs with two intervals
Photo Credit: Steve Gregson