This revival of David McVicar’s production sees Peter Seiffert returning as the solitary member of the original 2013 summer cast - to receive the most tumultuous of accolades among his vocal colleagues at the final curtain.

Indeed, Seiffert is most definitely still a Tristan to be reckoned with, sounding in fresher voice than in the original run and possibly giving an even more committed performance under the current baton of Peter Schneider. Seiffert’s reading is tried and tested, inexhaustible in stamina, and overflowing with thrilling stentorian passages which ride the orchestra with ease. Within this context, more lyrical passages which expose a rather arid tone and somewhat laboured vibrato, fade greatly in significance leaving an overall impression of a memorably powerful reading.  

Singing her first Isolde at the State Opera, Iréne Theorin exceeded already high expectations in all respects. Looking stunningly feminine and glamorous, the Swedish soprano gives the impression that the role requires no physical effort at all - allowing vocalism and stage work to blend seamlessly. Theorin’s rich warm timbre has sufficient edge to cut through Isolde’s curse effortlessly, while equally at ease in projecting a generous palette of unusually restrained - almost introvert - passages, and perfectly-floated pianissimi. The rapport between the two female leads - as well as the two lovers - was feverishly taut, driving the plot forward and making for many exciting scenes. 

As Brangäne, Michelle Breedt’s appealing soft-timbred mezzo well blended with her stage mistress and despite lacking the soprano’s extra touch of metal and notch of power, was absolutely adequate vocally - and artistically first-rate in interpretation and musicality.  

Tomas Konieczny’s first Kurwenal in the house absolutely hit the mark. Credible and sympathetic, this portrayal unified impressive vocalism with stage work and new found clarity of diction.

As König Marke, Albert Dohmen well-complimented the other protagonists with his noble and imposing portrayal.

Gabriel Bermúdez and Il Hong undertook Melot and the Steuermann respectively, while Carlos Osuna stood out with his vibrant lyric tenor as the Hirt.

Not surprisingly, the real reception of the evening went to conductor Peter Schneider and his forces in the pit. The sense of detail within the vast architecture, combined with sensitivity and passion truly made this an evening to remember. 

This Tristan overran quite considerably - yet it appeared the shortest I can recall ever attending!