On Wednesday, September 18th, I had the opportunity to attend Tristan und Isolde at the Grand Théâtre de Genève. Unfortunately, I had to leave after about an hour and a half due to personal reasons, so my impressions are limited to the first part of the performance.
First of all, it’s quite rare these days for me to attend an opera without knowing much about it in advance, and that was the case with Tristan und Isolde. Many people praise it as a sublime masterpiece, yet I felt like I was experiencing something completely new—almost like watching Forrest Gump for the first time at 36, after missing out on its cultural impact for years!
Before diving into the performance itself, I want to address an issue that saddened me: the audience turnout. This was only the second performance of the 2024/25 season at the Grand Théâtre, and the house was half-empty. It’s disheartening to see such a prestigious venue, well-regarded across Europe and even globally, struggling to sell tickets. The question arises: why? One might argue about the choices in the season’s programming, but it’s clear that something needs to change.
Starting the season with Tristan und Isolde—a four-and-a-half-hour-long opera—is… a choice, especially with a semi-staged concert format where the singers were dressed in plain black costumes. While that approach may have artistic merit, it doesn’t do much to fill the seats. And it’s not just the programming; the local audience seems to be awaiting the arrival of the Grand Théâtre’s new director next year. I sincerely hope the new leadership will implement a tried-and-true formula that works wonders elsewhere: the 80/20 rule. This involves programming 80% of well-known operas to attract audiences while dedicating 20% to more experimental or lesser-known works. Zurich, Paris, and the Liceu in Barcelona manage this balance brilliantly. In Geneva, I want to see big names and star-studded casts, like last season when Don Carlo featured world-renowned singers Rachel Willis-Sørensen and Charles Castronovo. Their mere presence drew crowds, and that’s exactly what the Grand Théâtre needs again. Case in point: Lisette Oropesa‘s recital in November is already sold out, showing the power of marquee names in selling tickets.
As for the opera itself, Wagner is undoubtedly an acquired taste. I must admit, I’m not the best judge when it comes to Wagner’s work—Verdi flows through my veins, and Italian romantic opera is my personal religion. However, for those willing to immerse themselves in Wagner’s world, I recommend seeing this production at the Grand Théâtre. If for nothing else, go for mezzo-soprano Kristina Stanek, who completely stole the spotlight with her extraordinary voice. Her portrayal of Brangäne was the highlight of the evening for me, and her talent truly shone through.
The casting was as follows:
- Tristan: Gwyn Hughes Jones (15.9, 18.9, 22.9, 27.9) / Burkhard Fritz (24.9)
- Isolde: Elisabet Strid
- King Marke: Tareq Nazmi
- Brangäne: Kristina Stanek
- Kurwenal: Audun Iversen
- Melot: Julien Henric
- A sailor, a shepherd: Emanuel Tomljenović
- A steersman: Vladimir Kazakov
In conclusion, while I didn’t stay for the entire performance, the first part of Tristan und Isolde showed great potential, especially through the performances of Kristina Stanek and the rest of the cast. Yet, I cannot help but feel concerned about the state of attendance at the Grand Théâtre. Wagner may not be for everyone, but this grand production deserved a fuller house. Here’s hoping the upcoming season and future leadership will reinvigorate this iconic Geneva institution.
