Tristan and Isolde at the Met

[sydneyboy]

I just read a report that the Met due to public demand are staging an additional performance of Tristan and Isolde in the current season. The sensational Lise Davidsen in the title role has captured the public imagination. She has just concluded a debut season in the role in Barcelona to huge critical acclaim. 

I saw her a few years ago in Don Carlo at Covent Garden and she received a rapturous reception. She has a magnificent voice and I have followed her career with interest ever since. Arguably the leading female singer in the world at the moment.
 

 

 

[sutherland]

I have only seen Tristan und Isolde twice - Heppner & Eaglen, Robert Dean Smith & Voigt.  Both sopranos were good.  The third act is murderous for the tenor.  Heppner, IMHO, was the most overrated tenor of his generation and he never made history as a Wagnerian tenor.  Robert Dean Smith had a light voice and Tristan was not his role.

[sydneyboy]

The Tristan in the current Met production is Michael Spyres and received good reviews. Astonishingly he still singing Nemorino on the Elixer of Love! It’s hard to imagine a greater contrast.

[Bokomaru]

Actually I think there’s quite a bit of emperor’s new clothes going on here regarding Spyres. He was not up to the task at all. And putting him next to the biggest voice in opera only highlighted how weak he was; barely audible in parts. This is Wagner! I hope he goes back to the repertoire that he can actually sing.
 
Also, I will very much avoid seeing anything with Ryan Speedo Green in the future. Not good. 

On the other hand Davidsen was worth the price of admission. Truly stunning. Too bad about the direction though. She and Spyres had zero chemistry. 
 

[sutherland]

On 3/15/2026 at 10:13 AM, Bokomaru said:

Also, I will very much avoid seeing anything with Ryan Speedo Green in the future. Not good. 
 

Have any of you discovered the Vocal Reckoning channel on youtube by ex-tenor Emilio Pons?  Here is his review of the Met's Tristan und Isolde and, at 12:25, he says Ryan Speedo Green was horrible - 

 

[Bokomaru]

Interesting review. Overall Tristan was worth seeing and I find this review way too negative. (Konieczny’s voice is ugly?? Gubanova has lost her shine? Cmon…)

He’s harsh but IMHO correct about Spyres  not being a good choice for the role. Such a shame. What a beautiful voice he has. 

[sydneyboy]

15 hours ago, sutherland said:

Have any of you discovered the Vocal Reckoning channel on youtube by ex-tenor Emilio Pons?  Here is his review of the Met's Tristan und Isolde and, at 12:25, he says Ryan Speedo Green was horrible - 

 

I wonder who would please Mr Pons?

[sutherland]

10 hours ago, sydneyboy said:

I wonder who would please Mr Pons?

Caruso, Callas, Pavarotti, Fleming, etc. all had some negative critics.  I've met opera fans like Mr. Pons in the past, whose attitude is "I, truly, am one of the few who know great singing.  You cannot fool me.  The people running the operas houses in Vienna and New York don't know, but I know".  Those of us who attend the opera on a regular basis all have our own opinions.

[+ nycman]

On 3/20/2026 at 6:49 AM, sutherland said:

Have any of you discovered the Vocal Reckoning channel on youtube by ex-tenor Emilio Pons?  Here is his review of the Met's Tristan und Isolde and, at 12:25, he says Ryan Speedo Green was horrible - 

 

This man is a bore, and he has no friends.

[sydneyboy]

2 hours ago, nycman said:

This man is a bore, and he has no friends.

He speaks with all the bitterness of a failed opera singer. 

[mtaabq]

I’m listening to it right now on “Live From The Met” on the classical music radio station. And it’s a beautiful day. 

[jeezifonly]

I watched Pons' review of it, and take it as one person's opinion. His technical knowledge of legit singing is absolutely solid, and his personal taste is ...personal. 

As for T&O the opera, it truly is an amazing piece of literature, written for a time of longer attention spans and smaller opera houses. Casting it for all tastes in the 21st C is impossible. Singers with the sturdy vocal chops can't pass as young, and compelling singing actors seem to be missing one quality or another in the voice dept. If doing the entire score live in one evening, I say, best make it a concert with projections, and cast strictly for voice and musicality. It's a shit-ton of (often boring) foreplay before reaching the climax that is the Liebestod, the 11:00 number that starts at 12:30. A tough sell. 

[TruHart1]

I’m not necessarily disagreeing with Mr. Pons’ opinions, but If you compare sopranos such as Birgit Nilsson (Swedish) and Lise Davidsen (Norwegian) many critics have expressed the same criticism of their respective “failures” in the Italian repertoire! Yet Nilsson became one of the greatest Turandots ever! Having heard Davidsen in Tosca, I found her interpretation impressive and moving (just my personal opinion.)

Another matter to consider about Mr. Pons’ criticism of the dismal state of opera singing in modern day, having read so many historic critics’ reviews from nearly the very beginning of the vocal arts, this idea that operatic singing is in decline has been with us throughout history and will be a continuing lament of critics into the far future!

TruHart1 😎