For more than nine decades, the Metropolitan Opera Radio Broadcasts have brought opera into millions of homes, playing a vital and unparalleled role in the development and appreciation of opera in ...

Tristan und Isolde features sets by Es Devlin, costumes by Clint Ramos, lighting by John Torres, projections by Jason H. Thompson, video design by Ruth Hogben, and choreography by Annie-B Parson.

Voice! Voice! And more voice! That’s what we got from the Met’s new production of Wagner’s TRISTAN UND ISOLDE last night, especially from the glorious soprano of Lise Davidsen as the Irish princess ...

Richard Wagner was a difficult person, to put it lightly—an infamous anti-Semite and world-historical egoist known for displaying ingratitude and duplicity toward lovers, friends, and benefactors ...

NEW YORK (AP) — In his book on reinventing opera, director Yuval Sharon describes “Tristan und Isolde” as “the single hardest work in the traditional repertoire to stage.” Yet here he is, about to ...

Lise Davidsen and Michael Spyres in Tristan und Isolde at the Metropolitan Opera (Karen Almond / Met Opera) The second half of the 2025–26 season opens with a Wagner event for the ages, as blazing ...

On the topic of “Tristan und Isolde,” Richard Wagner once said, “Only mediocre performances can save me! Thoroughly good ones would drive people insane.” Fortunately for the body politic, perfect ...

Performances in N.Y.C. The creators of a new “Tristan und Isolde” production explain the influences behind every element of a crucial scene. One scene near the end of Act I of “Tristan und Isolde” at ...

Performances in N.Y.C. Advertisement Supported by Critic’s Notebook Audiences are packing the theater for a new “Tristan und Isolde.” Everyone can see the same spectacle, but they probably don’t hear ...

“Our intentions are anachronistic,” said the German director Roland Schwab about his Bayreuth Festival production of Wagner’s Tristan und Isolde, adding, “I want to achieve a sense of escapism.” That ...

People who care about opera can’t stop talking about the baby, or “that damned baby” as a disgruntled patron put it on the way out of the Metropolitan Opera last week. It’s a directorial conceit in a ...