Tristan and Isolde

Richard Wagner (1813 – 1883)

13
Sunday
November
17:00 - 22:00
D-Prices: € 136,– / € 100,– / € 72,– / € 44,– / € 26,–
Information about the work

Opera in 3 acts
First performed on 10th June, 1865 in Munich
Premiered at the Deutsche Oper Berlin on 13th March, 2011

Recommended from 16 years on

5 hrs / 2 intervals

In German with German and English surtitles

Pre-performance lecture (in German): 45 minutes prior to each performance

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Cast
13
Sunday
November
17:00 - 22:00
D-Prices: € 136,– / € 100,– / € 72,– / € 44,– / € 26,–
Cast
the content

Betrayal, lost honour, guilt and atonement, passionate, transcendental love, a yearning for death and forgetting… the story of Tristan and Isolde, developed over centuries from a Celtic folk tale into a mythical saga, has fascinated writers, poets and musicians alike. The story moved Richard Wagner to create his "opus metaphysicum" (Friedrich Nietzsche), a masterpiece that stands head and shoulders above the long list of other achievements that is Wagner’s body of work.

At the very beginning of this supreme example of musical Romanticism that also ushers in the modern era of composition Wagner confronts his couple with a hopeless dilemma. Their love is as inevitable as it is unworkable: Tristan, the »mournful man«, whose misfortunes began with him causing the death of his mother in childbirth, is in love with Isolde, yet he is escorting her to be the bride of his king. His love thus represents a breach of his oath of fealty, a rupture that from the outset bodes ill for the lovers’ relationship and exposes him in his own estimation as dishonourable. Isolde, too, does not go innocently into this forbidden affair: instead of killing Tristan, the murderer of Morold, whom she was to marry, she has spared him. One look from Tristan was enough. She now treads like a stranger in her own life, her world of familiar domesticity.

Not only among Wagner’s works does TRISTAN AND ISOLDE enjoy special status. By virtue of its uncompromising, transcendental portrayal of an obsessive, all-encompassing, all-determining love affair the opera has retained its ability to unsettle and fascinate right up to the present day. Philosophers, psychologists, people of letters… all have studied the work through their respective lenses; composers and musicians have analysed it without being able to fathom all its riddles. The work, based on a legend, has itself become legend. That we, its audience and spectators, never manage to feel fully at ease as it washes over us – the love story, despite an age-old pedigree, still cuts to the marrow -, is one of the many wonders of this work.

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Newsletter

03
DEC

Today we are giving away 2 x 2 free tickets for the performance of DIE FLEDERMAUS on 31 December 2022 at 7.30 pm. If you would like to take part in the prize draw, please send an e-mail today to marketing@deutscheoperberlin.de with the subject "Das 3. Fensterchen".

In 2018, the curtain rose on a new production of FLEDERMAUS directed by Rolando Villazón. For the busy singer, director, presenter and author, this production was a matter close to his heart, as he was able to play with comic elements in Strauss’ master operetta on the one hand, but also give space to the melancholic and thoughtful on the other. For Strauss's operetta is about cheating, underground parties and the beguiling power of champagne, but also about the description of social facades and above all the abysses that lurk at the back of the bourgeois salon. And because there is always betrayal, partying and drinking, Villazón sets the three acts in three different times and takes the audience on a journey from the 19th century through the 1950s to the future.

It was already a novelty in 1874 at the Theater an der Wien that the waltz king Johann Strauss presented a plot that was not set in mythical faraway places or in fantasy states, but took the upper middle-class salon as its starting point. The bourgeois audience saw itself, with all its conceit, its double standards, grotesquely distorted on stage. The story was not new, of course: Strauß and his collaborator Genée drew on a French tabloid comedy by the Offenbach librettists Meilhac and Halévy, but supplemented it with piquant details. For example, the appearance of the disguised Rosalinde at Prince Orlofsky's ball. In general, the intensification and centring of the plot on the masquerade party with the final homage to alcohol, the general fraternisation and the champagne-loving du-i-du is due to Genée. Otherwise, the farce about cheating has all the ingredients of a good comedy: The rebellious chambermaid, the hidden lover, the self-adulterous but jealous husband and the disguised countess.

Burkhard Ulrich, Hulkar Sabirova, Annika Schlicht, Attilio Glaser, Padraic Rowan, Thomas Lehman, Jörg Schörner, Meechot Marrero, Kathleen Bauer and Ingo Paulick sing and play for you under the musical direction of Yi-Chen Lin.



Closing date: 3 December 2022. The winners will be informed by e-mail on 5 December 2022. The tickets will be sent to you by e-mails. The legal process is excluded.