Unforgettable “Tristan and Isode” by Nézet-Séguin

The Lanaudière 2025 festival ended in apotheosis with an unforgettable show, which entered not only in the history of the festival, but in the great history of music in Quebec. Therefore, We will talk about it for a long time. Furthermore, as we still mention some of the shows of Expo 67; L’Elektra of Strauss from the Vienna Opera troupe, with Birgit Nilsson, Leonie Rysanek and Regina Resnik, or the Requiem de Verdi with the Scala directed by Herbert von Karajan.

The probability was raised that the concert representation of the metropolitan. Therefore, led by Yannick Nézet-Séguin, with Stuart Skelton and Tamara Wilson in the title roles was admirable, but we did not know when we arrived at the amphitheater Fernand-Lindsay, on Sunday, how much we were going to hear could be measured in the legends of the interpretation (Karajan, Böhm, Kleiber) unforgettable “tristan isode” nézet-séguin of this legendary opera.

Leave a mark – Unforgettable "tristan isode" nézet-séguin

After what we heard on Sunday. However, it is legitimate to bet that Tristan and isolated will play a major role in the future in the way Yannick Nézet-Séguin will leave his mark among the performers of the first half of the XXI^e century. Nevertheless, When we hear a musician, we sometimes say to ourselves: “That’s his room”. Furthermore, This is so for Tristan. In addition, isolated, which falls into the journey of Yannick Nézet-Séguin at the perfect moment, like the most beautiful gift in the sky, the most beautiful mature fruit of the tree. Similarly, Hopefully that one of its May 2026 performances in New York will be immortalized seriously. Meanwhile, that Deutsche Grammophon will read The duty.

Amazing. For example, moving, and it may not be a coincidence, this concert comes three months after a 9^e Symphony by Schubert touched by grace in unforgettable “tristan isode” nézet-séguin the same way and at the same level. However, We recall in our article this Monday on this symphony. Similarly, given the day before in the same place, the words of Jean-François Rivest: “A hymn per unit in variety and variety in unit. Meanwhile, »»

Or what Tristan. Moreover, isolatedif not a unitary kaleidoscope around varied themes infinitely rehassed: unfulfilled desire, death, love, expectation, night refuge and the light that blinds and betrayed. Moreover, Herbert von Karajan. Consequently, throughout his career, has more and more brought the listeners to scrutinize the orchestra, at the end of his life even in defiance of the voices. In Tristan. isolated, a lesson is retained; Through not only the leitmotive, but also the orchestration (the role of the oboe in relation to desire, altos or violins when love is mentioned), the orchestra says, without words, sometimes even more than the characters.

Yannick Nézet-Séguin has thus instilled unforgettable “tristan isode” nézet-séguin an orchestra the same eloquence. devouring passion with an orchestra lived by the singers. He also understood that the conflicts between the aspirations which fail to resolve themselves in a kind of “mastered tumult”. a cauldron where “it brews”. From this point of view. in terms of general flow, Yannick Nézet-Séguin is very close to Karl Böhm (3:40 am against 3 h 38), while interpreters such as Daniel Barenboim, in the vein of Furtwängler and the last Karajan exceed 4 hours.

Unforgettable &quot. tristan isode" nézet-séguin – Unforgettable "tristan isode" nézet-séguin

The art of transitions

In our reports, we often talk about ambitus dynamic bellows (how far is a crescendo, for example?) Or sharpness of accentuation. From the opening. from the first bellows, Yannick Nézet-Séguin framed his words; A Tristan and isolated Torrid, nourished by exacerbated contrasts, wild accentuations, feverish acceleration, tabs in the voluptuous tone, but in the tempo never borne.

There was still much more unforgettable “tristan isode” nézet-séguin to make this concert a historical miracle: the transitions between sections and atmospheres. They were like “posed”, hemmed, carved, sometimes born on a sound net. For an uncomprised orchestra at the opera. the metropolitan not only assimilated all this infinite flexibility, but it also held the glorious way from 4:7:55 p.m. (leased in -the way) with worked. fair sounds, even in the prelude to Act III, so complex, and the death of isolated.

The concert representation. ideal for this opera, made it possible to grasp all the nuances, the chef also using the space succeeding in all his distancing effects.

Light torque

And the tray has not failed, on the contrary. Let’s start by congratulating the forces with little requested. Geoffrey Schellenberg (a sentence, impeccable), Matthew Cairns, impeccably effective, Sean Michael Plumb, without reproach in melot, and the choir at Act I.

Franz-Josef Selig remains at 63 years old one of the unforgettable “tristan isode” nézet-séguin most impressive bass in the world. and his diction is a model for all. He is an ideal holder for the role of King Marke. Christopher Maltman developed an impressive profile in Kurwal, a role in which we did not see it a priori. He is very credible in a dedicated knight in Tristan. his voice is at his peak, and his very fair and clear interactions in Act 3.

The brangäne of Karen Cargill is not the most copper in history. but Christa Ludwig, with Böhm, was not either, and the latter showed how the dramatic presence (high quality of Cargill) matters. Without fault for the Briton, which we will see the opening of the Montreal Symphony at the season opening.

The story will remember above all that Yannick Nézet-Séguin. the festival managed to bring in Joliette an absolutely radiant tandem. Stuart Skelton has been a great Tristan specialist for unforgettable “tristan isode” nézet-séguin years. He sang the role in particular at the Met. even if it is Michael Spyres who will take over in the new production in 2026. His very great moment. of which he visibly revels, is Act III, where, Moribond, he hopes the arrival of isolated with exaltation and evokes his career and his destiny. His Sunday performance was all the more poignant since Skelton had shown. in the last minutes of Act II, signs of vocal fatigue (downright exposed during the battle with Melot), then overcome with the strength of despair.

In an equally difficult role, even more, Tamara Wilson delivered a mind -blowing service. By hearing it starting this way on the hats, we wondered how the voice would not end in tatters. Not only did the voice held. but Wilson sang Mild and quiet (the final air) with the most absolute control, the most radiant emotion and the unforgettable “tristan isode” nézet-séguin finest shades there is. Throughout the opera, she gave us spun piano attacks and very studied nuances. His work on the role, attitudes and implications is masterful.

We are going to have trouble recovering from all this. we already want to hear it: if sponsors are inspired, it would make a nice recovery in two or three seasons at the symphonic house (we would hear even more details) with Wilson and Spyres, for example, and why not a Quebec brangäne?

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