Tristan and Isolde, London Coliseum

It might well be the most famous opening in the history of opera. Within a few seconds of the prelude’s beginning, the peal of the Tristan chord instantly transports you into Wagner’s enchanted world. The ten minutes that follow remain one of the most beguiling pieces of orchestral writing ever composed, matching grandeur with a mesmerising subtlety. And that’s only the introduction. Over almost five hours, Tristan and Isolde (1857-59) refined romantic opera to feverish heights, with constant innovations in dissonance, harmony and polyphony. With a few unfortunate exceptions, almost every production of this towering work is worth experiencing.

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Despite this musical complexity, Tristan’s plot is remarkably simple, in direct contrast to Wagner’s roughly contemporaneous Ring cycle or his earlier medieval romances. At its core, it is a classic tale of doomed love, one of the oldest in European history. The knight Tristan, who killed Isolde’s previous fiancé, is charged with taking her to marry King Marke. When Isolde tries to poison Tristan in revenge, her maid instead prepares a love potion, leading them to conduct a passionate but secretive affair.
This new production, a sure highlight of the English National Opera’s 2015/16 season, is directed by Daniel Kramer (Bluebeard’s Castle), long considered one of the most exciting directors around. The sets will be designed by Anish Kapoor RA (Arcelormittal Orbit), among the world’s leading contemporary sculptors. Completing this team is the in-demand Edward Gardner, the ENO’s ex-Music Director. Tenor Stuart Skelton (Peter Grimes), a garlanded Wagnerian, will play Tristan, opposite the dramatic soprano Heidi Melton as Isolde. The bass Matthew Rose plays Marke. With such a cast and crew, this Tristan and Isolde may well prove unmissable.