'Five hours of the most glorious music' Tristan und Isolde at the Royal Opera House

There are three types of tenor in operas: the lyric (or bel canto) tenors have exciting high voices that seem to come from the forehead and can cope with all the vocal gymnastics that Rossini, Mozart or Donizetti may throw at them.

The dramatic tenors, who have a slightly deeper voice coming from the lower down, producing a luscious sound that fits their romantic roles in Verdi or Puccini; and finally there is the heldentenor (heroic tenor) who is usually about twice the size of the bel canto warblers, has a voice of great power and is most often found belting out the works of Wagner for hours upon end.

And to judge from this production of Tristan and Isolde, they do not come more impressive than the American Stephen Gould.

The story tells of the medieval doomed romance between Tristan, a loyal knight in the service of King Marke of Cornwall, and the Irish princess Isolde, who is supposed to be marrying King Marke to unite their countries. But she is in love with Tristan, which becomes stronger when she is tricked by a confidante into taking a love potion. 

It all ends in disaster, of course, but only after five hours (including two intervals) of the most glorious music. Wagner has a way of writing a magnificent score that seems like one seamless crescendo, carrying the listener on its endless waves of emotion before finally exploding into a dramatic finale.

Apart from at the ends of acts, the audience is given no chance to applaud which would break the dramatic tension and magic of the music.

Not only does Stephen Gould display the stamina and powerful voice needed for Tristan, but Nina Stemme as Isolde even outdoes him in the extraordinary commitment and beautiful tone she brings to the role of Isolde.

With Iain Paterson quite magnificent as Tristan's friend Kurwenal and John Tomlinson bringing a rare passion to his portrayal of King Marke, this cast is as perfect as one could imagine.

Sarah Connolly also performs impressively as Isolde's confidante Brangäne, managing the near impossible feat of not being overshadowed by the power of Nina Stemme.

The whole opera is not only held together but given an added dimension by the conducting of Antonio Pappano who, from the whisper of the very first notes of the overture grips the attention and never lets the intensity flag.

Box Office: 020 7304 4000 (or roh.org.uk). Last performance on December 21. 

This production will be broadcast by BBC Radio 3 on December 29 at 5.45pm.