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A magnificent new production of _Tristan und Isolde,_ with set designs based on Wagner’s own, opened the season at Grange Park Opera this summer. Its previous staging was seven years ago in

Hampshire, before they moved to their new home at West Horsley Place in Surrey. The music of _Tristan_ is the most influential Wagner ever wrote. Its tonal restlessness and avoidance of

harmonic resolution holds the rapt attention of an audience throughout some four hours. _Tristan_ had a lasting effect on composers such as Mahler and Berg in Central Europe, César Franck

and Chabrier in France, even Debussy who, once an ardent admirer, became a firm opponent. Composers were hugely influenced by its chromaticism, seen very clearly in Schoenberg’s early

_Verklärte Nacht, _though he later adopted an entirely different musical language. An excellent essay in the programme adumbrates its huge significance in later music, notably Messiaen’s

astonishing _Turangalîla symphony, _composed in the 1940s. As a musical experience this was mesmerising under the baton of Stephen Barlow with the Gascoigne orchestra. The magnificent cor

anglais solo in Act III showed the splendid acoustics of this newly-built opera house, and the whole evening was a musical treat, well worth the short drive down the A3 from London. The

designs and staging by Charles Edwards were excellent, and the backdrop of Brittany (this is based on an ancient Celtic tale and begins aboard a ship en route from Ireland to Cornwall) in

Act III was reminiscent of Tintagel. The lovers’ meeting in Act II seemed a bit contrived and lacking in passion, but overall the production gave ample support to those moments where things

suddenly change. When Melot arrives from the King’s court and kills Tristan’s faithful friend Kurwenal, he deliberately fires his rifle twice, since the first shot only knocks his victim

down. My goodness, I have rarely seen a more effective death scene. Of course, above all it is the musical aspects that matter most and we were truly fortunate with the cast. Matthew Rose as

King Marke showed outstanding gravitas, both vocally and in his stage presence. His beloved friend and trusted heir Tristan was superbly sung by Gwyn Hughes Jones, though Rachel Nicholls,

who made such a wonderful Isolde for Grange Park Opera in 2016, before their move to Surrey, was dramatically strong but disappointingly harsh. In the wonderful _Liebestod_ at the end, where

the singer’s voice needs to float above the orchestra, she seemed to be attempting to overpower it. No such problems for the beautifully sung Brangäne of Christine Rice, and David Stout did

a splendid job of Tristan’s companion Kurwenal. Mark Le Brocq made an excellent Sailor in Act I and later gave a strong portrayal of Tristan’s erstwhile friend, the treacherous Melot. Good

singing, too, in minor roles in Act III, with Thomas Isherwood as the Steersman, and Sam Utley a fine Shepherd. A MESSAGE FROM THEARTICLE _We are the only publication that’s committed to

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