Norwegian soprano Lise Davidsen returned to the stage with a memorable debut as Isolde in a new production of Richard Wagner's 'Tristan und Isolde' at Barcelona's Gran Teatre del Liceu on January 12. Her monumental and fresh voice captivated audiences throughout the opera, overcoming disappointments in musical and stage direction. The performance positions her as a reference in the role for the 21st century.
The premiere of 'Tristan und Isolde' at Barcelona's Gran Teatre del Liceu on January 12 marked Norwegian soprano Lise Davidsen's return after her March 2025 retirement to give birth to twins. The 38-year-old from Stokke impressed from the first act with the volume and brightness of her fury outbursts, followed by a warm and lyrical narration to her maid Brangäne about her grievances with Tristan. Her famed high C's in the lovers' encounter in the second act integrated organically, and the final 'Liebestod' scene sounded as fresh and powerful as the beginning, evoking the legendary Kirsten Flagstad, who performed Isolde at the same venue in 1950.
Davidsen, who had sung the second act in concert version in Munich in November 2024 with Simon Rattle, shared the final ovation with tenor Clay Hilley, her competent but metallic-timbred Tristan lacking dramatic depth. The cast included Tomasz Konieczny as Kurwenal, with a granitic voice stronger in the third act; Ekaterina Gubanova as Brangäne, shining in the second-act warning; and Brindley Sherratt as King Marke, vulnerable yet tense in high notes.
The Liceu orchestra faced issues in the first act, nearly derailing during Kurwenal's song, but improved later, with brilliant solos from Dolors Payá on bass clarinet and Emili Pascual on English horn. Susanna Mälkki's musical direction was rushed and lacking tension, with a fast initial prelude and mismatches, though it highlighted Wagner's instrumental combinations. Bárbara Lluch's minimalist staging faltered in the first act, featuring a table uniting Isolde's parents with Morold's severed head, and immature actor direction post-love potion; the second act was effective with a starry sky, but the third became unnecessarily overloaded.
Audiences ovated Davidsen and Mälkki but were harsh on Lluch. The production, with Clara Peluffo's costumes favoring Isolde more, runs until January 31. Davidsen told Oper! magazine her voice remains unchanged, though her Isolde will grow show by show, ahead of her March Metropolitan Opera debut.
