The billboards for Auckland Philharmonia’s Tristan und Isolde, featuring the soulful gaze of Wagner’s heroine caught by symbolist painter Gaston Bussiere, have haunted the city, doubtlessly contributing to Saturday night’s full house.

Other drawcards were surely music director Giordano Bellincampi’s vision of this masterpiece, along with a home-grown Tristan in Simon O’Neill.

O’Neill was in remarkable voice, impeccably focused. How effortlessly he and Ricarda Merbeth, the evening’s powerhouse Isolde, sustained the exultant thrall of their great second-act love duet.

The intricate patchwork of themes rippling under them, iridescently woven by Bellincampi and his players, hinted at Merbeth’s exquisite Liebestod in the closing minutes of the opera.

Isolde’s final entrance, through the centre aisle of the stalls, was one of many effective stagings by Frances Moore.

Interactions between characters were beautifully observed from the moment we meet Isolde and her handmaiden Brangane (finely drawn by Katarina Karneus). Later, placing Karneus above, overlooking the lovers, Moore assisted one of the dramatic and musical highlights of the evening.

King Marke’s monologue, an intensely moving performance by Albert Dohmen, benefited from its stark setting on the bare steps of the choir stalls, while Andrew Goodwin’s sailor launched the opera from the circle with the power of a proclamation.

While the predominant theme of Tristan and Isolde is sexual love, the bonds of loyalty and deep friendship are also crucial – between Isolde and Brangane as well as Tristan and his servant Kurwenal, sung by the exemplary Johan Reuter.

Jared Holt made a strong impression as the villainous Melot, while the men of The New Zealand Opera Chorus were a hearty, rousing crew of mariners.

However, the star of the evening must be the orchestra, its significant nuancing of the opening prelude, through the magical night music of the second act to those sumptuous final minutes, creating a sonic constellation that even featured a genuine Wagnerian wooden trumpet, brought in from overseas for the occasion.

William Dart | 11 Aug, 2024

O’Neill gave an impressive account of Tristan with potent stage presence enhanced by his stance and gestures. He was able to convey a sense of the nobility of love while Merbeth’s Isolde expressed the passion and emotion. With much of her singing her ferocious voice seemed to effortlessly express the conflicting emotions of anger and passion.

This was a semi-staged performance but Frances Moore’s clever staging gave the performance some added drama with several of the cast making use of the various parts of the Town Hall.

Isolde made her final sensational entrance in walking up the centre aisle of the hall, Andrew Goodwin’s ship’s captain made a dramatic appearance singing from the Circle in Act I and Katarina Karneus singing an elegant Brangane sang from the Circle, looking down on the couple in Act II.

Albert Dohmen gave a forceful performance as King Marke singing from up by the organ, towering about the orchestra and Jared Holt as Melot, Tristan’s one-time friend turned villain gave a nuanced performance with his long denunciation.

Johan Reuter gave an impressive account as Kurwenal, Tristan’s servant capturing the close ties between the two men with his sympathetic voice.

The orchestra provided the backbone for the opera and under the skilful direction of Giordano Bellincampi provided sustained emotional and dramatic music, particularly the opening Prelude which made for a magnificent musical experience.

John Daly-Peoples | August 12, 2024