›...towards a Pure Land‹
›Tristan und Isolde‹, third act (concert performance)
- Michael Weinius – Tenor (Tristan)
- Dorothea Röschmann – Soprano
- Liang Li – Basso (Marke)
- Claudia Mahnke – Mezzo-soprano (Brangäne)
- Shenyang – Bassbariton (Kurvenal)
- Jan Remmers – Tenor (Melot)
- Joo-hoon Shin – Tenor (Ein Hirte)
- Mathis Koch – Basso (Ein Steuermann)
Deutsches Symphonie-Orchester Berlin
About the concert
At the ‘Music and Healing’ festival, Robin Ticciati and the DSO repeatedly juxtapose the experience of great human suffering with a perception of timelessness and spiritual calm. This is also the case in the last concert of the series, which begins with Jonathan Harvey’s orchestral study ‘... towards a Pure Land’, which premiered in 2005. According to the composer, the work depicts a world of “ephemeral” ideas, of “things” that come into being and then vanish again in an “endless flow”. The “pure land” denotes a “state of mind beyond suffering” – “He who dwells there experiences no ageing [and] no illness”.
A wound that will not heal is the focus of the third act of Wagner’s opera ‘Tristan und Isolde’, which closes the DSO festival in a concert performance. After the eponymous hero’s love affair with Isolde was uncovered by her husband, King Marke, and Tristan was injured in a fight, Tristan waits in exile in Brittany for the arrival of his beloved and finally dies in her arms. Tristan’s poignant song of love, pain and lament is one of the most emotionally intense passages in the history of opera, and the “sad tune”, at first performed unaccompanied by the cor anglais and then woven into the musical texture, is one of the composer’s most ingenious inspirations. After switching from the baritone voice type, Michael Weinius established himself as a leading heroic tenor, and Dorothea Röschmann, who interprets the ‘Liebestod’ (‘Love Death’) that concludes the opera, is one of the great Mozart, Strauss and Wagner singers of our time.