They’re the two most famous sections of Richard Wagner’s opera Tristan und Isolde (Tristan and Isolde): The first act prelude, and Isolde’s ‘Liebestod’ from the third act. They’re presented here by an extraordinary lineup: Daniel Barenboim conducting the West-Eastern Divan Orchestra, Waltraud Meier singing Isolde's Liebestod. The much-loved pieces were performed in the year 2006, in a concert encore at the Berliner Philharmonie.
The prelude alone of Tristan und Isolde wrote musical history. It begins with the legendary ‘Tristan chord’ – so harmonically ambiguous that, with it, Wagner had broken with every conventional theory of harmony in one fell swoop. The chord creates an ominous suspense that cries out for harmonious resolution, yet every move to resolve it only further compounds the initial tension. This creates a perpetual, musical limbo. The opening motif of the Tristan chord is woven all throughout the opera’s prelude – leading it to be characterized as “desire, made into music".
Desire is certainly the overarching theme of Tristan und Isolde: It is the essence of the love story between the two. In worldly life, this love not only remains unfulfilled, but ends tragically. On the metaphysical level, however, love is celebrated as rarely before: As Isolde holds the dead Tristan in her arms, she sings one of the most sensual love songs ever written. Her ‘Liebestod’ – literally ‘love-death’ – is a purging of all things earthly; a glorification of ecstatic union with the beloved.
Waltraud Meier, one of the world’s pre-eminent Wagner performers, is filled with fervor and devotion as she sings the part. The choir members, standing behind her, observe the magnificent mezzo-soprano with bated breath. A more stirring vocal performance could not be found.
Whether you’re a lover of Wagner or no: Enjoy these two milestones of musical history!
(00:00) Introduction
(00:19) Prelude
(10:44) Liebestod
© EuroArts Music International
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