Lyric Opera raises curtain on truly memorable 'Tristan and Isolde'

The world of opera is known for its portrayals of tragic love affairs, and "Tristan und Isolde" rises above the rest, a true Mount Everest of grand opera.

The musical foundation of Richard Wagner's landmark score, dating from 1865, influenced countless composers to follow. Arnold Schoenberg's music, for example, owes much to "Tristan," as the romantic period evolved into the musical language of the 20th century.

Tuesday night, Lyric Opera of Chicago raised the curtain on a truly memorable "Tristan und Isolde," with a dynamic cast headed by Northwest suburban native Deborah Voigt, one of the world's most renowned dramatic sopranos, and American tenor Clifton Forbis in the title roles.

This production was designed by David Hockney, the renowned English artist best known among Lyric Opera fans for his primary color-splashed production of "Turandot," last seen here two seasons ago. Hockney's "Tristan und Isolde," looking as fresh as when it debuted in the late 1980s at Los Angeles Opera, has a color scheme with more muted earth tones, but it remains pure Hockney down to the last tree and boulder. The costumes, in particular those worn by Ms. Voigt and the German mezzo-soprano Petra Lang, making her Lyric Opera debut as Brangne (Isolde's maid) are realistic to the legendary time period of the drama.

Hockney's scenic designs can be classified as impressionistic, but they remain literal enough to ensure that the viewer recognizes the ship in Act 1, the exterior of King Marke's castle in Act 2 and the Brittany coast in Act 3. Often, Wagner's operas, including the "Ring" cycle, are subjected to so-called "concept" productions to the detriment of the music. Hockney's creativity is just enough off-kilter to draw attention to the story, but never at the expense of Wagner's magnificent score.

Voigt and Forbis are a perfect match. Their love duet in the second act (it lasts 40 minutes!) is one of many emotional high points in this production. Later, the mortally wounded Forbis is wonderfully dramatic in his great scene that opens the final act, and Voigt climaxes the evening with an achingly beautiful performance of the familiar Liebestod (love-death), arguably the most beautiful 10 minutes of music Wagner ever wrote. Voigt made her critically acclaimed debut as Isolde in Vienna in 2003 and last season performed it at New York's Metropolitan Opera. Incidentally, she will return to the Lyric in September to open the 2009-10 season as another of opera's great doomed heroines in Puccini's "Tosca."

The emotionally conflicted King Marke is convincingly portrayed (Lyric Opera debut) by Danish bass Stephen Milling. Marke's great Act 2 monologue, "Tatest du's wirklicht," was one of the high points during Tuesday's opening night.

Lyric Opera music director Sir Andrew Davis adds another wining notch on his Wagner baton with a vital interpretation of a score that can become wayward under a lesser conductor. The various offstage instruments were very effective, including the mournful shepherd's pipe in Act 3.

Note: Because of the early 6 p.m. curtain time, Rivers Restaurant is selling box lunches for $12 (cash only) during all performances of "Tristan und Isolde." Rivers staff members will presell tickets in the first-floor lobby when the doors open, and the box lunches will be distributed to patrons in the first- and third-floor lobbies during the first intermission. A choice of three types of sandwich baguettes, along with pasta salad and dessert (no beverage) will be available.