Hybridised Performance: Disruption and Deferment in Wagner’s &lt;i&gt;Tristan and Isolde&lt;/i&gt;

Susan Broadhurst

doi:10.16995/bst.298

Abstract

The following focusses on aspects of hybridised multi-layered performance as seen in Wagner’s Tristan and Isolde, recently in a new production at the English National Opera (ENO). The notion of Wagner’s, ‘Gessamtkunstwerk’ (his own spelling) is particularly relevant, as are the influences of Schopenhauer’s ‘Philosophy of Pessimism’ and to a lesser extent Nietzsche’s apologias. There are nuances within music and libretto which invoke all of these in the work’s treatment of Liebestod, self-immolating romantic passion. This production was conducted by Edward Gardner, directed by Daniel Kramer, and designed by Anish Kapoor with digital assistance from Frieder Weiss.

Highlights

Susan BroadhurstThe following focusses on aspects of hybridised multi-layered performance as seen in Wagner’s Tristan and Isolde, recently in a new production at the English National Opera (ENO)
In July 2016, I attended a production of Richard Wagner’s Tristan and Isolde at the Coliseum in London
Nietzsche questions whether ‘genuine musicians ... can imagine a human being who would be able to perceive the third act of Tristan and Isolde’s without expiring in a spasmodic unharnessing of all wings of the soul’ (Nietzsche, 1967: 126–27)

Summary

Susan Broadhurst

The following focusses on aspects of hybridised multi-layered performance as seen in Wagner’s Tristan and Isolde, recently in a new production at the English National Opera (ENO). The notion of Wagner’s, ‘Gessamtkunstwerk ’ (his own spelling) is relevant, as are the influences of Schopenhauer’s ‘Philosophy of Pessimism’ and to a lesser extent Nietzsche’s apologias. There are nuances within music and libretto which invoke all of these in the work’s treatment of Liebestod, self-immolating romantic passion. This production was conducted by Edward Gardner, directed by Daniel Kramer, and designed by Anish Kapoor with digital assistance from Frieder Weiss

Introduction

Innovation in Music and Performance