The intricate patchwork of themes rippling under them, iridescently woven by Bellincampi and his players, hinted at Merbeth’s exquisite Liebestod in the closing minutes of the opera.
Isolde’s final entrance, through the centre aisle of the stalls, was one of many effective stagings by Frances Moore.
Interactions between characters were beautifully observed from the moment we meet Isolde and her handmaiden Brangane (finely drawn by Katarina Karneus). Later, placing Karneus above, overlooking the lovers, Moore assisted one of the dramatic and musical highlights of the evening.
King Marke’s monologue, an intensely moving performance by Albert Dohmen, benefited from its stark setting on the bare steps of the choir stalls, while Andrew Goodwin’s sailor launched the opera from the circle with the power of a proclamation.
While the predominant theme of Tristan and Isolde is sexual love, the bonds of loyalty and deep friendship are also crucial - between Isolde and Brangane as well as Tristan and his servant Kurwenal, sung by the exemplary Johan Reuter.
Jared Holt made a strong impression as the villainous Melot, while the men of The New Zealand Opera Chorus were a hearty, rousing crew of mariners.
However, the star of the evening must be the orchestra, its significant nuancing of the opening prelude, through the magical night music of the second act to those sumptuous final minutes, creating a sonic constellation that even featured a genuine Wagnerian wooden trumpet, brought in from overseas for the occasion.
