Instruct: Given a question, retrieve relevant passages that can help answer the question.
Query: Where was Tristan und Isolde first performed?
Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama, a plot or an action), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas.
In 2018, Kaufmann made his debut as Tristan in concert performances of the second act of Wagner's "Tristan und Isolde".
The Prelude and Liebestod is a concert version of the overture and Isolde's act 3 aria, "Mild und leise". The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The Liebestod can be performed either in a purely orchestral version, or with a soprano singing Isolde's vision of Tristan resurrected.
Isolde collapses beside her deceased lover just as the appearance of another ship is announced. Kurwenal spies Melot, Marke and Brangäne arriving ("Tod und Hölle! Alles zur Hand!"). He believes they have come to kill Tristan and, in an attempt to avenge him, furiously attacks Melot. Marke tries to stop the fight to no avail. Both Melot and Kurwenal are killed in the fight. Marke and Brangäne finally reach Tristan and Isolde. Marke, grieving over the body of his "truest friend" ("Tot denn alles!"), explains that Brangäne revealed the secret of the love potion and that he had come not to part the lovers, but to unite them ("Warum Isolde, warum mir das?"). Isolde appears to wake at this and in a final aria describing her vision of Tristan risen again (the "Liebestod", "love death"), dies ("Mild und leise wie er lächelt").
Brangäne returns to Isolde to relate these events, and Isolde, in what is termed the "narrative and curse", sadly tells her of how, following the death of Morold, she happened upon a stranger who called himself Tantris. Tantris was found mortally wounded in a barge ("von einem Kahn, der klein und arm") and Isolde used her healing powers to restore him to health. She discovered during Tantris' recovery, however, that he was actually Tristan, the murderer of her fiancé. Isolde attempted to kill the man with his own sword as he lay helpless before her. However, Tristan looked not at the sword that would kill him or the hand that wielded the sword, but into her eyes ("Er sah' mir in die Augen"). His action pierced her heart and she was unable to slay him. Tristan was allowed to leave with the promise never to come back, but he later returned with the intention of marrying Isolde to his uncle, King Marke. Isolde, furious at Tristan's betrayal, insists that he drink atonement to her, and from her medicine chest produces a vial to make the drink. Brangäne is shocked to see that it is a lethal poison.
From his arrival in Paris and debut at the Concerts Lamoureux in the first act of Tristan und Isolde he studied with Chabrier and became a close friend of the composer. The singer repaid Chabrier by advocating for performances of his operas in Karlsruhe and other places where he appeared. During the years appearing at the Lamoureux concerts, Van Dyck sang in "La Damnation de Faust", fragments from "Sigurd", "Tristan und Isolde", "Die Walkyrie", "Les Sept péchés capitaux" of Goldschmidt, and the premiere of "le Chant de la Cloche" by Vincent d'Indy.
In March 2004, Studer sang her first complete Isoldes in three concert performances of the work, in Münster, Germany,
opposite the Tristan of tenor Wolfgang Schmidt. Before these complete Isoldes, she had sung excerpts from all three acts of "Tristan und Isolde" in Gießen, Germany (in 1999), opposite the Tristan of tenor Heikki Siukola.
In a world first, the British opera house Glyndebourne made a full digital video download of the opera available for purchase online in 2009. The performance stars Robert Gambill as Tristan, Nina Stemme as Isolde, Katarina Karnéus as Brangäne, Bo Skovhus as Kurwenal, René Pape as King Marke, and Stephen Gadd as Melot, with Jiří Bělohlávek as the conductor, and was recorded on 1 and 6 August 2007.[42]
Following the war, another classic recording is the 1952 performance at the Bayreuth Festival with Martha Mödl and Ramón Vinay under Herbert von Karajan, which is noted for its strong, vivid characterizations and is now available as a live recording. In the 1960s, the soprano Birgit Nilsson was considered the major Isolde interpreter, and she was often partnered with the Tristan of Wolfgang Windgassen. Their performance at Bayreuth in 1966 under the baton of Karl Böhm was captured by Deutsche Grammophon – a performance often hailed as one of the best Tristan recordings.[40]
Niemann visited Wagner in the Asyl, at the composer's invitation, in summer 1858. Wagner had him in mind to create the role of Siegfried. From 1859, Wagner had involved Niemann (then at Hanover) in his plan to form a model German company to perform some operas, including "Tristan und Isolde", in Paris in 1860. The plan was for Niemann to sing "Tannhäuser" and Josef Tichatschek to sing "Lohengrin", alternating to rest their voices and able to replace each other if needed, and both to share a production of "Tristan und Isolde" as well. However, the projected Isolde, Frau Bürde-Ney, could not be released from a Leipzig contract, and the project foundered.
Although Tristan und Isolde is now widely performed in major opera houses around the world, critical opinion of the opera was initially unfavourable. The 5 July 1865 edition of the Allgemeine musikalische Zeitung reported:
When questioned, Tristan says he cannot answer to the King the reason of his betrayal since he would not understand. He turns to Isolde, who agrees to follow him again into the realm of night. Tristan announces that Melot has fallen in love with Isolde too. Melot and Tristan fight, but, at the crucial moment, Tristan throws his sword aside and allows Melot to severely wound him.
Tristan und Isolde is scored for the following instruments:
Clara Schumann wrote that Tristan und Isolde was "the most repugnant thing I have ever seen or heard in all my life".[31]
The conductor Bruno Walter heard his first Tristan und Isolde in 1889 as a student:
Chabrier’s interest in Wagner dated from 1862, when as a study exercise he copied out the score of "Tannhäuser". In early 1880 he requested time off from his ministry job to visit Munich that March with Duparc and other friends to go to a performance of "Tristan und Isolde" as it could only be seen there. The experience was a musical revelation for Chabrier. Chabrier, as assistant to Charles Lamoureux, helped in the rehearsals for the concert performances in Paris of Act I (1884) and Act II (1885) of "Tristan und Isolde".
Tristan und Isolde has a long recorded history and most of the major Wagner conductors since the end of the First World War have had their interpretations captured on disc. The limitations of recording technology meant that until the 1930s it was difficult to record the entire opera, however recordings of excerpts or single acts exist going back to 1901, when excerpts of Tristan were captured on the Mapleson Cylinders recorded during performances at the Metropolitan Opera.[38]
The score of Tristan und Isolde has often been cited as a landmark in the development of Western music.[15] Throughout the opera, Wagner uses a remarkable range of orchestral colour, harmony, and polyphony, doing so with a freedom rarely found in his earlier operas. The very first chord in the piece, the Tristan chord, is of great significance in the move away from traditional tonal harmony as it resolves to another dissonant chord:[16]
This influence, together with his discovery of the philosophy of Arthur Schopenhauer in October 1854, led Wagner to find himself in a "serious mood created by Schopenhauer, which was trying to find ecstatic expression. It was some such mood that inspired the conception of a Tristan und Isolde."[6]
Kurwenal appears in the women's quarters ("Auf auf! Ihr Frauen!") and announces that the voyage is coming to an end. Isolde warns Kurwenal that she will not appear before the King if Tristan does not come before her as she had previously ordered and drink atonement to her. When Tristan arrives, Isolde reproaches him about his conduct and tells him that he owes her his life and how his actions have undermined her honour, since she blessed Morold's weapons before battle and therefore she swore revenge. Tristan first offers his sword but Isolde refuses; they must drink atonement. Brangäne brings in the potion that will seal their pardon; Tristan knows that it may kill him, since he knows Isolde's magic powers ("Wohl kenn' ich Irland's Königin"). The journey almost at its end, Tristan drinks and Isolde takes half the potion for herself. The potion seems to work but it does not bring death but relentless love ("Tristan!" "Isolde!"). Kurwenal, who announces the imminent arrival on board of King Marke, interrupts their rapture. Isolde asks Brangäne which potion she prepared and Brangäne replies, as the sailors hail the arrival of King Marke, that it was not poison, but rather a love potion.
Isolde, promised to King Marke in marriage, and her handmaid, Brangäne, are quartered aboard Tristan's ship being transported to the king's lands in Cornwall. The opera opens with the voice of a young sailor singing of a "wild Irish maid", ("Westwärts schweift der Blick") which Isolde construes to be a mocking reference to herself. In a furious outburst, she wishes the seas to rise up and sink the ship, killing herself and all on board ("Erwache mir wieder, kühne Gewalt"). Her scorn and rage are directed particularly at Tristan, the knight responsible for taking her to Marke, and Isolde sends Brangäne to command Tristan to appear before her ("Befehlen liess' dem Eigenholde"). Tristan, however, refuses Brangäne's request, claiming that his place is at the helm. His henchman, Kurwenal, answers more brusquely, saying that Isolde is in no position to command Tristan and reminds Brangäne that Isolde's previous fiancé, Morold, was killed by Tristan ("Herr Morold zog zu Meere her").
King Marke leads a hunting party out into the night, leaving Isolde and Brangäne alone in the castle, who both stand beside a burning brazier. Isolde, listening to the hunting horns, believes several times that the hunting party is far enough away to warrant the extinguishing of the brazier – the prearranged signal for Tristan to join her ("Nicht Hörnerschall tönt so hold"). Brangäne warns Isolde that Melot, one of King Marke's knights, has seen the amorous looks exchanged between Tristan and Isolde and suspects their passion ("Ein Einz'ger war's, ich achtet' es wohl"). Isolde, however, believes Melot to be Tristan's most loyal friend, and, in a frenzy of desire, extinguishes the flames. Brangäne retires to the ramparts to keep watch as Tristan arrives.
Recent seasons have seen Lisa Gasteen return to the Staatsoper Berlin to perform Chrysothemis, Brünnhilde ("Siegfried") in Stuttgart, Leonora ("Fidelio"), her role debut as Isolde ("Tristan und Isolde") for Opera Australia, for which she was the recipient of a Helpmann Award, Brünnhilde at the Meiningen Festival in her first complete Ring Cycle, making her Australia's first Brünnhilde for some sixty years, her debut at the Royal Opera House, Covent Garden as Isolde under Bernard Haitink, Chrysothemis at the Staatsoper Berlin and further performances of Brünnhilde (Siegfried) in Stuttgart.
"Tristan und Isolde" has a long recorded history. In the years before World War II, Kirsten Flagstad and Lauritz Melchior were considered to be the prime interpreters of the lead roles, and mono recordings exist of this pair in a number of live performances led by conductors such as Thomas Beecham, Fritz Reiner, Artur Bodanzky and Erich Leinsdorf. Flagstad recorded the part commercially only near the end of her career in 1952, under Wilhelm Furtwängler for EMI, producing a set which is considered a classic recording. Following the war, the performances at Bayreuth with Martha Mödl and Ramon Vinay under Herbert von Karajan (1952) were highly regarded, and these performances are now available as a live recording. In the 1960s, the soprano Birgit Nilsson was considered the major Isolde interpreter, and she was often partnered with the Tristan of Wolfgang Windgassen. Their performance at Bayreuth in 1966 under the baton of Karl Böhm was captured by Deutsche Grammophon—a performance often hailed as one of the best "Tristan" recordings. Some collectors prefer the pairing of Nilsson with the Canadian tenor Jon Vickers, available in "unofficial" recordings from performances in Vienna or Orange. 
This is an audio and video discography of Tristan und Isolde, an opera by Richard Wagner which was first performed on 10 June 1865 in Munich.