"Tristan und Isolde," an opera in three acts, words by the composer, was first produced at Munich, June 10, 1865, under the direction of Hans von Buelow, with the following cast of characters:--
TRISTAN Herr LUDWIG SCHNORR VON CAROLSFELD.
KURWENAL Herr MITTERWURZER.
KING MARK Herr ZOTTMAYER.
ISOLDE Mme. SCHNORR VON CAROLSFELD.
BRANGOENA Mlle. DEINET.
"Tristan and Isolde" was commenced in 1857 and finished in 1859, during the period in which Wagner was engaged upon his colossal work, "The Ring of the Nibelung." As early as the middle of 1852 he had finished the four dramatic poems which comprise the cyclus of the latter, and during the next three years he finished the music to "Das Rheingold" and "Die Walkuere." In one of his letters he says: "In the summer of 1857 I determined to interrupt the execution of my work on the Nibelungen and begin something shorter, which should renew my connection with the stage." The legend of Tristan was selected. It is derived from the old Celtic story of "Tristram and Iseult," the version adopted by Wagner being that of Gottfried of Strasburg, a bard of the thirteenth century, though it must be said he uses it in his own manner, and at times widely departs both from the original and the mediaeval poem.
In "Tristan and Isolde" Wagner broke completely loose from all the conventional forms of opera. It has nothing in common with the old style of lyric entertainment. As Hueffer says, in his recent Life of Wagner: "Here is heard for the first time the unimpaired language of dramatic passion intensified by an uninterrupted flow of expressive melody. Here also the orchestra obtains that wide range of emotional expression which enables it, like the chorus of the antique tragedy, to discharge the dialogue of an overplus of lyrical elements without weakening the intensity of the situation, which it accompanies like an unceasing passionate undercurrent." In an opera like this, which is intended to commingle dramatic action, intensity of verse, and the power and charm of the music in one homogeneous whole, the reader will at once observe the difficulty of doing much more than the telling of its story, leaving the musical declamation and effects to be inferred from the text. Even Wagner himself in the original title is careful to designate the work "Ein Handlung" (an action).
The vorspiel to the drama is based upon a single motive, which is worked up with consummate skill into various melodic forms, and frequently appears throughout the work. It might well be termed the motive of restless, irresistible passion. The drama opens on board a ship in which the Cornish knight, Tristan, is bearing Isolde, the unwilling Irish bride, to King Mark of Cornwall. As the vessel is nearing the land, Isolde sends Brangoena to the Knight, who is also in love with her, but holds himself aloof by reason of a blood-feud, and orders him to appear at her side. His refusal turns Isolde's affection to bitterness, and she resolves that he shall die, and that she will share death with him. She once more calls Tristan, and tells him that the time has come for him to make atonement for slaying her kinsman, Morold.
She directs Brangoena to mix a death-potion and invites him to drink with her, but without her knowledge Brangoena has prepared a love-potion, which inflames their passions beyond power of restraint. Oblivious of the landing, the approach of the royal train, and all that is going on about them, they remain folded in mutual embrace.
The second act opens in Cornwall, in a garden which leads to Isolde's chamber, she being already wedded to King Mark. With Brangoena she is waiting for Tristan. The King goes out upon a night hunt, and no sooner has he disappeared than Isolde gives the signal for his approach, while Brangoena goes to her station to watch. The second scene is a most elaborate love-duet between the guilty pair, the two voices at first joining ("Bist du mein? Hab'ich dich wieder?"). A passionate dialogue ensues, and then the two voices join again ("O sink' hernieder, Nacht der Liebe"). After a brief dialogue Brangoena's warning voice is heard. Absorbed in each other, they pay no heed, and once more they join in the very ecstasy of passion, so far as it can be given musical form, in the finale of the duet, "O suesse Nacht! Ew'ge Nacht! Hehr erhabne Liebes-Nacht." The treachery of Sir Melot, Tristan's pretended friend, betrays the lovers to the King. Tristan offers no explanations, but touched by the King's bitter reproaches provokes Sir Melot to combat and allows himself to be mortally wounded.
The third act opens in Brittany, whither Kurwenal, Tristan's faithful henchman, has taken him. A shepherd lad watches from a neighboring height to announce the appearance of a vessel, for Kurwenal has sent for Isolde to heal his master's wound. At last the stirring strains of the shepherd's pipe signal her coming. In his delirious joy Tristan tears the bandages from his wounds, and has only strength enough left to call Isolde by name and die in her arms. Now a second vessel is seen approaching, bearing King Mark and his men. Thinking that his design is hostile, Kurwenal attempts to defend the castle, but is soon forced to yield, and dies at the feet of his master. The King exclaims against his rashness, for since he had heard Brangoena's story of the love-potion he had come to give his consent to the union of the lovers. Isolde, transfigured with grief, sings her last farewell to her lover ("Mild und leise wie er laechelt"), and expires on his body. The dying song is one of great beauty and pathos, and sadly recalls the passion of the duet in the second act, as Isolde's mournful strains are accompanied in the orchestra by the sweetly melodious motives which had been heard in it, the interweaving of the two also suggesting that in death the lovers have been reunited.
