Interludes

THE HANGOVER REPORT – A night at the opera for the ages: The Met’s new production of TRISTAN UND ISOLDE hits mystical heights

• By drediman
• March 19, 2026
• No Comments

Earlier this week, I caught up with the Metropolitan Opera’s new production of Tristan und Isolde, one of Richard Wagner’s defining works and a reason for swooning for many an opera fan. The occasion is notable for two primary reasons, the first being that the run marks the highly anticipated New York debut of Norwegian dramatic soprano Lise Davidsen in the role of the Irish princess Isolde. The second reason for excitement is the new staging itself, which is the brainchild of Yuval Sharon, a visionary theater-maker whose productions have caused much sensation around the world. Here, he tackles one of the most sublime accomplishments in all of the operatic repertoire. In short, I’m happy to report that on both counts, the Met — which has come under scrutiny in recent months for how it’s been handling its financial woes — has scored an unqualified and much needed success.

Indeed, the company’s new production is transcendent, and thankfully, no longer set in a battleship. The fluid, mystical staging by Sharon limits the gimmicks, focusing instead on the metaphysical aspects of the opera. He brings both expansiveness — internal and external — and excruciating intimacy (thanks to some tasteful video projections) to Wagner’s musically ravishing opera, a love story to end all love stories (the American auteur has already been tapped to helm the Met’s new Ring Cycle, a pinnacle assignment for any director). As Isolde, Davidsen is giving a dramatic and vocal performance for the ages. A singer of immense power and stamina, her glistening voice effortlessly cut through the thick swaths of orchestral sound produced by the mighty Met Orchestra. In terms of her acting, she brings both fire and serenity to her performance, thankfully without ever resorting to histrionics. As Tristan, tenor Michael Spyres delivered a thoughtful and well-judged performance, reserving his firepower for some of the role’s more daunting vocal passages, especially in the third act.

Other performances worth highlighting are mezzo-soprano Ekaterina Gubanova — solidly reprising her nuanced portrayal of Isolde’s lady in waiting Brangäne — as well as Wagnerian bass-baritone Tomasz Konieczny, whose booming voice powers his performance as Kurwenal, Tristan’s right hand man. Also worth mentioning is well loved American bass-baritone Ryan Speedo Green, who is making a distinctive debut in the role of King Marke. In the pit, maestro Yannick Nézet-Séguin — in his first time conducting Tristan und Isolde at the Met — manages to shape a lush and expressive account of the timeless score without losing sight of the tale’s forward dramatic momentum. Suffice to say, it all amounted to a truly memorable night at the opera, one that I’ll cherish and remember for years to come.

HIGHLY RECOMMENDED

TRISTAN UND ISOLDE
Opera
The Metropolitan Opera
Approximately 5 hours (with two intermissions)
In repertory through April 4