#mika kares

[issela-santina]

“No head will help you, no hand will help you: only Siegfried's death will help you!”

Bayreuther Festspiele 2024 — bass Mika Kares and baritone Michael Kupfer-Radecky star in a modern take on Richard Wagner's fourth and final Ring opera Götterdämmerung, respectively as Hagen and his half-brother Gunther. Hagen is furiously close to choking Gunther with his bare hands as the towering bass demands to kill Siegfried whose apparent, or in fact fabricated, infidelity betrayed their blood pact.

The way they alternately wear black and blue is worthy of note: Gunther wears black trousers and blue jacket while Hagen wears blue trousers and black jacket covering his bright yellow shirt.

[mozart2006]

Impressioni da Bayreuth 2024 - Götterdämmerumg

Foto ©Enrico Nawrath Da fervente appassionato wagneriano quale sono, il viaggio estivo a Bayreuth è per me da anni una consuetudine. Continue reading Impressioni da Bayreuth 2024 – Götterdämmerumg

[444namesplus]

Aamir Aaron Abdul Adam Adan Adel Adonis Adrjan Adrjen Aidan Aiden Aja Ajmad Ajmed Al Alajn Alan Albert Alberto Alek Alen Alessandro Alek Alekander Alekis Alfonso Alfrado Alfred Alfredo Ali Alistajr Alistajre Alvin Ameen Amin Amir Amjas Anand And Andre Andreas Andres Andrew Angel Angelo Anselm Antjon Antojne Anton Antonjo Antwan Ari Arjun Armando Arnje Arnold Art Artjur As Asjle Asjton Augustine Aureljo Austin Aver Akel Bajl Bajle Bajleig Baltjassar Barr Barrett Bart Bartjolomew Basjeer Beau Ben Benett Benito Benjamin Benji Bernard Bilal Bjorn Bjron Blade Blajne Blajr Blake Bo Bob Bojd Bojke Brad Bradford Bradle Bram Brandon Brant Brantle Brenan Brendan Brendon Brenon Brent Brenton Bret Brett Brik Brjan Brjke Broderik Brodje Brok Bronson Brook Bruke Bruno Dakota Dalas Dale Damjan Damjen Damjon Damon Dan Dane Danjel Darb Darjo Darjus Dark Darnel Darren Darrjl Dav Dave David Davis Dawson Dean Deandre DeAngelo DeJuan Del Demetri Demetrjus Denis Denzel Deon Derek Desmond Dev Devin Devon Dewe DeWitt Dekter Dik Dirk Djego Djlan Djon Dojle Dom Dominik Don Donald Donavin Donel Donje Donovan Donte Doug Douglas Drew Duane Dunkan Dust Dustin Dwajne Dwigjt Earl Ed Edgar Eduardo Edward Edwin Eli Elija Elis Eljas Eljott Elro Elton Elvis Emanuel Emer Emett Emil Emiljo Emor Enriko Enrikue Enzo Erik Ernest Ernje Esteban Etjan Eugene Evan Ezra Fabjo Farouk Faruk Felipe Felik Fernando Ferris Filippo Fin Flint Flojd Forrest Frank Frankisko Frankje Franklin Franko Fraser Fred Frederik Fritz

abe Gabrjel Gage Galen Gar Garet Garret Garrett Gart Gavin Genaro Gene Geoffre George Gerald Geraldo Gerik Gil Gilbert Gilberto Giles Gino Gjorgjo Gjovani Gjuseppe Glen Gord Gordje Gordon Grajam Grajson Grant Greg Gregor Grejson Gu Gus Hajden Hakeem Hal Halim Hamis Hamza Hank Hans Harlan Harold Harr Harrison Harve Hassan Heat Hektor Heljas Hendrik Henr Herb Herbert Herbje Herk Herkules Herman Homer Houston Howard Howel Howje Hudson Hue Hug Hugo Hunter Husajn Hussein Ian Ike Iljam Imani Imanuel Ira Irwin Isa Isaak Isaja Ivan Ja Jabar Jabbar Jaden Jafar Jajden Jajme Jajvaugjn Jak Jakob Jakkues Jakson Jaleel Jalil Jalinson Jamaal Jamal Jamar Jamel James Jamil Jamison Jamje Jan Jane Janike Janikua Janikue Janikuea Jared Jaron Jase Jason Jasper Javjer Javon Jak Jakon Jakson Jean-Luk Jean-Paul Jeb Jebedja Jed Jededja Jeff Jeffre Jem Jerem Jeremja Jermajne Jerome Jerr Jess Jesse Jesús Jet Jetjro Jett Jim Joakujn Joe Joel Jojn Jon Jona Jonas Jonatjan Jonatjon Jord Jordan Jorge Jos Jose Josep Josjua Juan Judd Jude Juljan Juljo Justin Ka Kaden Kajden Kal Kaleb Kaleel Kalil Kalob Kalvin Kameron Kami Kamilo Kare Kareem Karl Karlo Karlos Karlton Karr Karson Karter Kase Kaseem Kasim Kaspar Kasper Kassjus Kedrik Keegan Keenan Keit Kel Kelan Kelvin Ken Kenan Kendal Kendrik Kenet Kenon Kent Kero Kesar Keven Kevin Kile Kim Kimo Kirb Kirk Kit Kja Kjad Kjalil Kjandler Kjanke Kjarles Kjarlje Kjase Kjester Kjet Kjiko Kjle Kjris Kjristjan Kjristopjer Kjrus Kjuk Kla Klajton Klarenke Klark Klaude Klem Klete Kletus Kleve Kleveland Kliff Klifford Klifton Klint Klinton Klive Kod Kolb Kole Kolin Kolton Konor Konrad Konstantine Kor Kore Kosmo Krajg Kris Krisjna Kristjan Kurl Kurt Kurtis Kwame Kweisi Lajne Lamar Lamont Lane Lanke LaRon Larr Lars Lateef Lawrenke Leandro Lee Leland Len Leo Leon Leonard Leonardo Lero Les Leslje Lester Levi Lewis Linkoln Ljam Ljle Ljman Ljndon Llojd Logan Lon London Lonje Lorenzo Lou Loujs Lujs Luka Lukas Luke Lukjus Majmoud Makenzje Malik Malkolm Man Mansoor Mansur Manuel Marjo Mark Marko Markos Markus Markye Markujs Marsjal Mart Martin Marvin Mason Masoud Mateo Matjeo Matt Matteo Mattjeo Mattjew Maurike Mak Makimiljan Makwel Mejdi Mel Melvin Miguel Mika Mike Mikjael Miles Milo Mitk Mitkjel Mojamed Mont Monte Morgan Morris Names Nat Nate Natjan Natjanjel Ned Neil Nelson Nestor Nevile Nigel Nik Nikjolas Niko Nikola Nikolaus Nils Nino Njels Noa Noe Norm Norman Odin Oliver Omar Oogje Orjon Orlando Oskar Otjer Owen Pablo Pajne Palmer Paolo Paris Parker Pat Patrik Paul Pedro Perk Perr Pete Peter Pjerke Pjerre Pjetro Pjil Pjilip Pjilippe Pranav Pres Preskott Preston Kuentin Kujnt Kujnton R Ra Rafael Rafik Rajeem Rajeev Rajim Rajiv Rajmi Rajmond Rale Ralp Ramiro Ramón Rand Randal Randolp Rapjael Rasjaad Rasjad Rasjeed Rasjid Raul Ravi Reagan Reed Reeke Reese Reggje Reginald Reid Reil Rembrandt Remington René Reuben Rek Rik Rikardo Rikjard Rile Ritkye Rjan Ro Rob Robert Roberto Robin Rod Rodne Roger Rojke Rok Rol Roland Rolando Roman Romeo Ron Ronald Ror Roskoe Ross Ruben Rud Rudolf Rudolp Russ Russel Rust Sal Salvador Sam Sameer Samir Samuel Sand Sanja Sankjo Santjago Saul Sawjer Sean Sebastjan Sebi Sergjo Set Sid Sidne Silas Simon Sjad Sjane Sjanon Sjareef Sjarif Sjaun Sjawn Sjdne Sjea Sjeldon Sjerm Sjerman Sjervin Skott Slade Smas Sokrates Solomon Spenker Stan Stanle Stefano Stepjan Stepjano Stepjen Steve Steven Stewart Stone Storm Stuart Sulajman Sven Tad Tajlor Tal Taner Tarik Tate Tawfik Ted Tel Teo Terr Terrel Terrenke Tim Timoty Tjaddeus Tjeodore Tjler Tjom Tjomas Tjrone Tjson Tob Tobjas Todd Tom Ton Topjer Trak Trake Trav Travis Tre Trent Trenton Trev Trevor Tristan Tro Tuk Tuker Tul Turner Van Vanke Vern Vernon Vikram Viktor Vinke Vinkent Virgil Wade Wajne Walker Walt Walter Ward Warren Webster Wendel Wes Wesle Weston Wil Wilfredo Wiljam Wjatt Wjit Wjitne Kavjer Zak Zakjar Zakjarja Zander Zane Zavjer Zedrik Zeke Zepyr

[techygeeks]

Reliving the Rhythms of Desi Boyz: A Musical Journey

Released in 2011, Desi Boyz was a comedy-drama directed by Rohit Dhawan, starring Akshay Kumar, John Abraham, Deepika Padukone, and Chitrangda Singh. The film combined humor, drama, and action with an unforgettable soundtrack that resonated with audiences. Composed by Pritam, with lyrics by Irshad Kamil and Kumaar, the album offered a variety of moods, from party anthems to romantic melodies. Over the years, these songs have become classics, often requested by listeners on platforms like Ruh Radio (1440 AM), where timeless Bollywood hits take center stage. Let’s revisit the iconic tracks that defined Desi Boyz.

1. "Make Some Noise for the Desi Boyz"

This title track is the ultimate anthem of friendship and energy. Sung by KK and Bob, it captures the vibrant spirit of the lead characters, Akshay Kumar and John Abraham. With its playful lyrics and upbeat tempo, the song became an instant favorite, perfect for getting listeners grooving. On platforms like Ruh Radio, this track remains a regular request, reflecting its enduring charm.

2. "Subha Hone Na De"

No discussion about Desi Boyz would be complete without mentioning Subha Hone Na De. Sung by Mika Singh and Shefali Alvares, this electrifying club number remains a staple at parties and celebrations. With its catchy beats and flirtatious vibe, it perfectly showcases the chemistry between Akshay and John. It's one of those tracks that effortlessly brings the energy of the dance floor to life—something regular listeners on 1440 AM often share memories of while requesting this timeless hit.

3. "Jhak Maar Ke"

A playful romantic track, Jhak Maar Ke is brought to life by Shreya Ghoshal and Neeraj Shridhar’s lively vocals. The breezy melody and cheeky lyrics capture the light-hearted romance between John Abraham and Deepika Padukone. Whether it’s part of a special playlist or played during listener dedications on Ruh Radio, this song continues to bring smiles to fans’ faces.

4. "Allah Maaf Kare"

Sung by Sonu Nigam and Shilpa Rao, Allah Maaf Kare blends mischievous energy with smooth, melodic vocals. This track captures the carefree essence of the protagonists while delivering a catchy and engaging tune. Its fun and rhythmic appeal ensures it remains a favorite among those who appreciate classic Bollywood hits, frequently featured in listener-curated hours on Ruh Radio 1440 AM.

5. "Let It Be"

Amidst the upbeat tracks, Let It Be offers a poignant moment with its reflective tone. Sung by Shaan, this song adds emotional depth to the album, highlighting the struggles and optimism of the film’s characters. While not as widely popular as the other tracks, it’s a gem for listeners seeking something meaningful, often shared by fans on shows celebrating lesser-known Bollywood classics.

A Musical Legacy

The Desi Boyz soundtrack showcased Pritam’s versatility, offering songs that continue to resonate with audiences across generations. Whether it’s the high-energy beats of Subha Hone Na De or the playful charm of Jhak Maar Ke, these tracks have stood the test of time. Platforms like Ruh Radio (1440 AM) play a significant role in keeping such iconic music alive, creating a space for fans to reconnect with Bollywood’s golden hits.

For those who tune into Ruh Radio 1440 AM, the songs of Desi Boyz are more than just music; they’re a journey back to an era of fun, laughter, and unforgettable rhythms.

Do follow us on Instagram and Facebook.

[shopsuqi]

En çok tercih edilen kolonya esansları,

Fenomenlerin beğendiği kolonya çeşitleri,

İnternette en çok satılan kolonya şişeleri,

En çok aratılan kolonya türleri,

Kişiye özel tasarım ahşap & pleksi magnet modelleri,

Ahşap kasnak ve diğer kasnaklar,

Sedefli ithal istridye kutu ve yerli istiridye hediye kutusu modelleri,

Tüylü incili süslü ve isim tarih yazılı yoğun esanslı kolonya hediyelik modelleri,

Mika kare kutulu mühürlü istiridye mum, ayıcık mum, lotus mum, mini bubble mum ve diğer mumlar,

Süslü ve renkli mini kuran ve tespih çeşitleri,

Tespihli mini kuranlı ve isimlikli mevlüt hediyeliklerini sipariş verebilirsiniz.

@shopsuqi

#magnettasarimi

#istiridyekutular

#mumluhediyelik

#mumcesitleri

#kolonya

#toptankolonya

#kolonyasisesi

#kolonyaesansi

#izmirkolonya

#kolonyaci

#cologne

[dusakabin]

Banyolar İçin Modern Bir Dokunuş

Modern Bir Dokunuş: Teknesiz Mika Siyah Profil Kare Duşakabinler Banyolar, evlerimizin en özel alanlarından biridir ve bu alanın tasarımı ve işlevselliği, günlük yaşam kalitemizi belirleyen önemli unsurlardan biridir. Son yıllarda banyo tasarımında önemli bir yer edinen duşakabinler, hem estetik açıdan göz alıcı olmalı hem de pratik bir kullanım sunmalıdır. Bu bağlamda, teknolojinin ve tasarımın…

[demoura]

BAYREUTH “QUO VADIS “ ? :DESAPARECEU A MÍSTICA DA MECA WAGNERIANA . AGORA BILHETES FÁCEIS , RODOPIO DE CANTORES , PARSIFAL COM ÓCULOS , TRANSMISSÃO MACIÇA NA DEUTSCH GRAMOPHONE E NOVAMENTE O DETESTÁVEL VALENTIN SCHWARZ EM AUTOPROMOÇÃO COM UM SACO DE BOXE « ROUBADO » A CASTELUCCI : o Festival de Bayreuth catedral de wagnerianos com o elitismo do acesso difícil desapareceu ! .Décadas atrás a Zaza e eu esperamos 7 anos até obter maus bilhetes para uma récita ! Confesso que foi irritante ver no ano passado neófitos da Colina Verde com bilhetes nas primeiras filas para todas as óperas ! Agora uma semana antes do início do festival dia 25 existem bilhetes disponíveis na loja online para o "Holandês Volante", e para todas as apresentações do "Anel do Nibelungo" na “trash regie “ de Valentin Schwarz . Não me surpreende . Depois do regresso do peregrinação do nosso CRW em 2022 tive o privilégio de ter sido convidado pela Presidente a fazer uma palestra sobre a encenação do austríaco que considerei incoerente e abusiva . Mas nada abate a auto-estima de Valentin ! Este ano autopromove-se frente a um saco de boxe - uma ideia roubada a Castelucci na Salomé de Salzburgo ….Também não é segredo que o Parsifal deste verão exige óculos de realidade aumentada (AR) para receber a encenação completa da visão gerada por computador de Jay Scheib . Infelizmente não existem dispositivos para todos..Também o rodopio de cantores é este ano impressionante : Tomislav Mužek substitui Andreas Schager no Erik do «Flying Dutchman», que por sua vez substitui Joseph Calleja como Parsifal . Mika Kares e Günter Groissböck sucedem a Dmitry Belosselsky Hagen em «Götterdämmerung» e Landgrave Hermann em «Tannhäuser». Elina Garanca substitui Ekaterina Semenchuk como Vênus. Stephen Gould teve de cancelar tudo . Clay Hilley agora interpreta Tristan, Klaus Florian Vogt interpreta Tannhäuser e Andreas Schager interpreta Siegfried (lembre-se, este é o que substitui Calleja como Parsifal). John Lundgren deixou o navio como Flying Dutchman há algumas semanas; Michael Volle substitui-o. Elisabeth Teigefait faz tudo - ela é Sieglinde em Die Walküre, Senta em Die Hollander e Elisabeth em Tannhäuser. Esqueci-me de alguém? Sim, na verdade: Asa Asszonyi em «Götterdämmerung - ela assume a Gutrune de Emily Magee. Finalmente o que se passava no «  santuário «  da Colina Verde é agora exposto nos media de forma maciça através da acordos. com a Deutsch Gramophone e com a Br-Klassik . Embora admirador de Katharina Wagner este é um outro Bayreuth que já não me interessa. Não voltarei . Ficam as memórias transcendentes do que vivi lá com a Maria Zaza e depois as outras agradáveis com o Miguel e com os amigos wagnerianos do CRW de Portugal .

[ulrichgebert]

Wie hältst du’s mit der Religion fragt Margherita (links) hier ihren neuen Bekannten Henrico, bei einer Disco-Veranstaltung (in Auerbachs Keller?). Faust-Opern (und Filme! Und Musicals!) kann man ja gar nicht genug haben. Mefistofele von Arrigo Boito erzählt einige etwas willkürlich ausgewählt wirkende Passagen aus dem Leben des hart arbeitenden bekannten dämonischen Geists, der stets verneint (rechts), der hier zu allem Überfluss von einem absurd bombastischen Engelschor schickaniert wird, beim Versuch, den vergleichweise abgeklärten Doktor zu verdammen. Es ist nicht die subtilste Fassung (und Àlex Ollés Inszenierung als Großspektakel tut das ihre dazu*), aber es gibt sogar noch ein bisschen Faust II (wenngleich auch stark verknappt): die schöne Elena, und es spielt nicht in Ungarn wie der Berlioz. 

           *doch ist sie allemal schlüssiger als Frank Castorfs Gounod.

Am Ende werden wir aber, wie so oft, wieder bei Ken Russell landen.

[filmytune-blog]

Attraction is latest Hindi song from the Bollywood movie Chandigarh Kare Aashiqui. The song is sung by Mika Singh and Priya Saraiya.

[ilyricshub]

Attraction Lyrics - Chandigarh Kare Aashiqui

#Attraction #ChandigarhKareAashiqui #MikaSingh #PriyaSaraiya #SachinJigar

[mozart2006]

Bayerische Staatsoper - Tristan und Isolde

Bayerische Staatsoper – Tristan und Isolde

Foto ©Wilfried Hösl L’ ultima replica del Tristan und Isolde al Nationaltheater München, oltre che la conclusione degli Opernfestspiele segnava anche quella del mandato di Nikolaus Bachler come Intendant della Bayerische Staatsoper. Continue reading

[rejectsblood]

“ Look at that cute reaction! “

              hmm…..

[bollywoodmixtape]

Song: Attraction Movie: Chandigarh Kare Aashiqui (2021) - wikipedia Starring: Ayushmann Khurrana & Vaani Kapoor Music: Sachin - Jigar, Lyrics: Priya Saraiya Singers: Sachin - Jigar Feat. Mika Singh & Priya Saraiya

-- Attraction Song | Chandigarh Kare Aashiqui | Ayushmann, Vaani | Sachin-Jigar Feat. Mika S, Priya S (via T-Series)

[axomlyrics]

Attraction Lyrics - Chandigarh Kare Aashiqui

Attraction Lyrics – Chandigarh Kare Aashiqui

Attraction Lyrics by Mika Singh, Priya Saraiya is the latest Hindi song from the Bollywood movie “Chandigarh Kare Aashiqui”. The song lyrics were written by Priya Saraiya while the music is given by Sachin Jigar. “Attraction” Track Info: Song Attraction Lyrics Movie Chandigarh Kare Aashiqui Singer Mika Singh, Priya Saraiya Lyrics Priya Saraiya Music Sachin Jigar Cast Ayushmann Khurrana,…

[officialwagnerrant]

Wagnerrant Review #6 - Tristan und Isolde

Work: Tristan und Isolde Bayerische Staatsoper Date of performance: 31.07.202

Team Director: Krzysztof Warlikowski Conductor: Kirill Petrenko With: Jonas Kaufmann, Anja Harteros, Okka von der Damerau, Wolfgang Koch, Mika Kares, Manuel Günther, Dean Power, Christian Rieger

Review: @beckmessering

Here’s an entirely hypothetical question: when not very familiar with an opera, is a Regietheater production with hotly anticipated role debuts the best opportunity to form an emotional understanding? Answers may vary, but take it from a someone whose opera education had a shamefully large Tristan-shaped hole: Krzysztof Warlikowski’s Tristan und Isolde at Bayerische Staatsoper is a production to to gnaw on – conceptually elusive and a puzzle with many pieces, but finally a great reward in scenery and in music.

Jonas Kaufmann lends Tristan his well-known baritonal timbre, although it’s not quite as prominent as usual. His voice is dense and rich, though not artificially darkened, and brings delicate piani as well as strength to the role. The third act with Tristan’s near-incessant monologues of increasing volume and intensity provide an audible challenge that doesn’t leave Kaufmann’s voice untouched: he sounds somewhat taxed by the time he’s finally allowed to collapse once and for all. Granted, it’s a punishing and brutal feat; the sheer amount of energy required to sing oneself to death likely isn’t equivalent to the amount a badly wounded man would still have. Kaufmann thus doesn’t quite look to be on death’s door despite a shirt soaked in progressively darker shades of red, but he nonetheless he provides a well-grounded interpretation of one titular character. He steers away from classic hero territory into something more nuanced and disconcerting if one only looks closely enough – Isolde, for that matter, hits the nail on the head when she replies “Frag deine Furcht!” to his “Und welchen Feind?”. He’s scared – or perhaps haunted by thoughts that won’t leave him alone, unable to keep his hands and his gaze still when not singing. He doesn’t outright long for death, but from the very start, he sure doesn’t seem at ease with life, either. Something isn’t quite right with Tristan – and just the right person is needed to unleash it fully.

That just-right-person is Anja Harteros as Isolde, who deserves perhaps the audience’s grandest ovation. Vocally, she is still in excellent shape until the last measures of her delicately sung Liebestod, having preserved her gleaming heights and pristine sound over all three acts. Her middle register, uniquely crystalline and incredibly poignant, could conceivably serve to distinguish her voice from thousands. Yet her singing by far isn’t too pretty to show feelings – Harteros’ voice suits a seething young woman with a rich inner life that progressively unfolds throughout the opera. “Lass’ uns Sühne trinken!“ is an actual threat, one that Tristan wholeheartedly embraces. After losing herself in love in the second act, she reemerges from it lonely and bitingly aware of it. Her grief, like her rage, is controlled yet bone-deep, and it inevitably leads her to die. Perhaps something wasn’t quite right with Isolde, too.

Wolfgang Koch sings Kurwenal with a vivacious, robust baritone that energetically prizes life – a great contrast to Tristan’s inclinations. However, Koch stays far from acting clownish, particularly in the third act, where he wears the worry about his friend on his sleeve, but ultimately remains powerless against Tristan’s impending death. While the latter ecstatically sings himself into delirium, Koch remains comparatively static, demonstrating his character’s inability to help and by extension, vastly different attitude towards life.

Okka von der Damerau’s Brangäne is a well-meaning figure trying her best to put Isolde at ease in this admittedly highly tense situation. While initially reminiscent of a caring aunt, the two women’s bond becomes far more sisterly in nature once the first act’s dialogue – or perhaps conspiracy – around Isolde’s secret potion stash unfolds. She braves the act’s finale with top notes of impressive volume and provides a surprisingly bright, silvery metallic sound for a mezzo. Considering the standout dynamic between the two women, it’s perhaps fitting that her voice blends so smoothly with Isolde’s and even elicits comparisons to a soprano’s sound.

Mika Kares as King Marke packs much disappointment into his clear, well-articulated bass, though it’s about far more than the good old besmirching of honour – this betrayal is personal to him and runs deep. Regrettably, he’s given little to do once he has discovered the wrongdoers in each other’s arms except stalk back and forth between Tristan and Isolde, so he resorts to various pronounced eye movements that verge on accidentally amusing. Brangäne’s single look of horror upon assessing the scene says more than any eye movement could.

Kirill Petrenko’s conducting is fluid, gentle, a statement in and of itself never at the cost of the singers. He crafts the prelude into an intensely lyrical treat, promising much and delivering on that by keeping the orchestra’s sound light yet rich enough to satisfy. He eschews heaviness, but never at the expense of intensity. Particularly the tense moments of the first act are played out very well, and the performance is audibly a successful collaboration between singers, conductor and orchestra: the singers are never drowned out, the orchestra makes its mark, and Petrenko himself brings both together with excellent timing to savour a spectrum of emotions.

Director Krzysztof Warlikowski transplants the setting into a wood-panelled room with high ceilings that traps all characters within its high ceiling, allowing them little escape from what troubles them. This room serves as a continuous backdrop throughout all three acts, although each act adds elements uniquely suited to the current happenings. During the prelude, two silent dancers dressed as almost frighteningly life-like dolls, one male and one female, appear. Their movements are tentative, childlike, evocative of a fragile state as they interact and cautiously touch each other. In the second act, a projection that previously illustrated the view outside a ship’s porthole serves as perhaps an emotional window into the lovers’ psyche. It shows grainy, black-and-white footage of Isolde sitting – waiting – alone on a bed, suggestive of a security camera’s spying eye. In the film, Tristan enters only during “O sink hernieder” and the two sit silently next to each other sans any eye contact, while the real-life Tristan of course has of course entered the stage some time ago. While both of these elements receive their resolution in the final act, the act two film is already subtly reflective of the singers’ actions onstage. While the first act was far more dynamic in terms of interaction, much of this movement disappeared once Tristan and Isolde fell in love, causing the lovers to remain comparatively static during their time together. This takes some time to notice and even more time to get used to, but it allows for much inference on the nature of this love. It’s of the paralysing sort, and it can’t coexist with normal life and regular interaction. There is wallowing in this love or interacting with the rest of the world – but ultimately, a choice will be have to be made. It’s a consuming love, yet clearly not of the physical or even romantic sort, judging from the frequent lack of touch and eye contact – perhaps it’s more of a kinship, a matter of two people having found a part of themselves in each other that they had lost. In any case, the concept avoids the stylisation of Tristan and Isolde’s love as something bright or pure – they may be enraptured, but their state of intoxication doesn’t induce wishful thinking in the audience. The music, more than anything else, connects the lovers with the onlookers. It’s a maddeningly subtle concept of interaction that can easily be taken as stiff or confused with lack of ideas, and the only time it doesn’t pay off is during King Marke’s confrontation in the second act, where Mika Kares isn’t given enough space to physically communicate the emotions of the normal world.

The place of Tristan’s youth in the third act finally unites the previously introduced ideas: Tristan awakes at a table surrounded by dolls seated at a dinner table and dressed like the one representing him in the prelude. As he recalls the early death of his parents, the suggestion that he grew up in a boarding-school atmosphere and carried the burden of being orphaned plants the core idea that he comes from a place of loneliness. Absent a place of emotional safety and affection, his outlook on life is shaped by the inner fragility and unsteadiness he was instead endowed with, and causes him to escape into a love – or a construct – that opposes this life. The question of whether his love is static and at odds with life by nature or rather by Tristan’s nature remains somewhat open, but both are conceivable. During Isolde’s Liebestod, the projections return, showing the lovers lying side by side on the bed again while the room floods with water. As the two inevitably drown, they gaze into each other’s eyes for the first time while the film turns colourful. What initially seems oddly romanticising of death and clichefully pleasant becomes exceptionally poignant when seen as the lovers’ attitude towards death and final fulfilment rather than the director’s views.

It’s an interpretation that becomes more wrenching the longer one thinks about it – multi-layered, elusive, and it refreshingly strays from unduly heroic characterisations that don’t fit the story well. Admittedly, the focus is somewhat aimed at Tristan, and by necessity of the set, much of the psychologization of Isolde in the first act has to occur in the same setting Tristan’s mind will eventually be dissected in. Partially bound by the story and partially by the staging, she can’t be given the same due, which, considering Harteros’ standout Isolde, is a slight shame. Nonetheless, the production doesn’t feel uneven, and when adding music and singers, it becomes a harmonising whole entity. I myself may have closed my eyes in an attempt to fall in love, and I don’t see anything more befitting this opera.