Step forward the next Isolde…
OperaBavarian Radio has released audio of Lise Davidsen singing the second act of Tristan und Isolde for the first time.
Stuart Skelton is Tristan. Simon Rattle conducts.
The sound is phenomenal.
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The stars of the night were Rattle and the orchestra, which played and sounded splendid. That that was the case tells us everything about the current state of operatic singing.
Also, that is not Bavarian Radio’s YouTube channel but, rather, someone’s private YT channel. The individual simply recorded the Bavarian Radio broadcast of the first concert and then uploaded it to his channel.
Correct. The broadcast is available completely legally on the website of the Bavaran Radio: https://www.br-klassik.de/programm/radio/ausstrahlung-3602882.html
However, I am not sure whether it is available from outside Germany and/or Europe.
Plays fine for me across the pond.
Skelton makes it extremely difficult to listen to (especially uncut).
He was good twenty years ago. Long past it.
I attended this concert. Although I wasn’t enamored with the hall acoustic from my good stalls seat, the orchestra was superb, so passionate and committed; I have never seen Sir Simon quite as animated as he was. Unfortunately I found the vocal duo mentioned above disappointing. There was very little chemistry between them and too often Davidsen’s voice failed to assert itself with the orchestra in full flow. Words just became sounds as I struggled to hear proper enunciation from her. I must say however that I really enjoyed the performances of Karen Cargill (Brangäne), Sean Michael Plumb (Melot) and Franz-Josef Selig (König) who brought great presence and gravitas to the role. So a very mixed performance overall from my perspective.
You, perhaps, did not purchase a copy of the programme. Franz Josef Selig did not sing. Due to illness, he was replaced by fellow German bass Christof Fischesser for both performances.
My apologies for this error – Christof Fischesser was truly excellent.
You mean they sell concert programs in Europe instead of giving them for free?
It depends. Some places provide them without asking for money, but others charge.
Balance problems are for the conductor, not the singers.
And for the Sound Engineers on any broadcast.
“There was very little chemistry between them and too often Davidsen’s voice failed to assert itself with the orchestra in full flow”
Do you mean this as her voice not being big enough? Or this is just a reference to her unclear diction?
Her voice can be big enough but sounded somewhat forced and yes, I had issues with her diction.
Next time, sit in the balcony you will hear better. Often times it’s not the singers’ fault but the hall’s acoustics.
A lot of unsubtle, pushed singing here. Ann Evans, she aint.
It is horribly overmiked.
Isolde she ain’t – such a pity that she never lives up to the hype. Ditto Skelton. Ditto Rattle.
I loved Skelton’s singing years ago, but having seen his latest attempt at Glyndebourne, it was very scary. I could barely relax to listen as I was more concerned for his physical health up and down the stairs (his opening at the Met a few years was also a disaster as he had blown his voice in act 2 and act 3 had almost nothing to offer on opening night ….. As a large bodied man myself, I do not want to body shame him. But I genuinely fear that Skelton now lacks the cardio power to bring this role to life now, even standing still. (His attitude doesn’t help, many industry insiders say.). It’s also well documented that he cannot sing the full role, but must make the traditional – unfortunate – cuts in Act 2. Can we find a new Tristan who can handle the role as written?
That’s a big ask.
For me, one of the few who actually sang it (rather than belted it) as written was the rather under-appreciated late John Mitchinson, a role he recorded under Goodall.
San Francisco’s “Tristan” livestream last week was way better – Simon O’Neill, Anja Kampe