The Met’s Tristan First Review Is in the Times – the London Times

Key Takeaways

• Costumes criticized; deemed distracting from performance
• Conductor's volume overwhelms singers, per reviewer
• Isolde's Davidsen praised for power and lyricism
• Spyres debut as Tristan lauded for baritone richness
• Met's lead pairing compared to historic opera greats

Summary

The Times published Kevin Ng’s review of the Metropolitan Opera’s new Tristan und Isolde, noting mixed reactions to the production. Ng criticized the costume design and argued that conductor Yannick Nézet‑Séguin’s heavy orchestral emphasis drowned out the singers. However, he praised the lead pair—Anna Davidsen as Isolde and debutant Michael Spyres as Tristan—for their powerful voices and compelling chemistry. The review positions the Met’s casting as a standout amid the production’s flaws.

Pulse Analysis

The Metropolitan Opera’s latest staging of Wagner’s Tristan und Isolde arrived under a cloud of mixed criticism, as The Times’ reviewer Kevin Ng highlighted the production’s visual and sonic choices. While the minimalist set design aimed for contemporary relevance, the costume design was described as incongruous, pulling attention away from the drama. Moreover, conductor Yannick Nézet‑Séguin’s penchant for a thunderous orchestral backdrop was said to eclipse the singers at crucial moments, sparking debate about balance between orchestra and vocal line in modern opera.

Despite those reservations, the production’s greatest triumph lies in its vocal centerpiece. Danish soprano Anna Davidsen, cast as Isolde, delivered a “titanic” voice that commanded the hall, especially in the Act I curse and the soaring Liebestod, where her high notes floated effortlessly. Opposite her, Michael Spyres made a striking debut as Tristan, impressing with a rich baritone timbre and secure upper register that sustained the lengthy death scene. Their chemistry, described as “sensual” and “dramatically committed,” places the Met’s pairing among the most celebrated Wagnerian duos in recent memory.

The critical split underscores a broader tension in opera: preserving Wagner’s monumental sound while adapting to contemporary aesthetic expectations. Positive buzz around Davidsen and Spyres may translate into stronger ticket sales and reinforce the Met’s reputation for bold casting. At the same time, the conductor’s orchestral dominance could prompt future revisions to achieve a more balanced acoustic, a concern echoed by audiences seeking vocal clarity. As major houses monitor box‑office response and press commentary, this production will likely influence upcoming Wagner cycles and set a benchmark for integrating new talent with established musical direction.