Richard Wagner
Tristan und Isolde

“Maestro Jan Latham-Koenig – not very often, but consistently – gives us magnificently sounding presents. The previous season was opened with a flawless Britten. Earlier was the first Moscow production of Tristan und Isolde, which made a great sensation”.

Colta.ru
September 22, 2015

“The conductor Jan-Latham Koenig has first of all been noted here for his Wagner: such obviously magnificent Wagner as, for example, in the production of Tristan und Isolde is to be found nowhere else in Moscow”.

Kommersant, 23 September 2015

“I don’t know what magic occurred that evening in the Hermitage Garden, but I still find it difficult to believe in what I heard at the Novaya Opera after Bayreuth, Vienna and Munich (I don’t even mention less iconic venues for the Wagner heritage). It was unforgettable and incredible in all senses”.

Operanews.ru, 16 February 2015

“This production is one more point to be proud that Moscow has a theatre that bears sole responsibility for a qualitative and not formal revival of Russian Wagneriana, i.e. responsibility for fostering a new listener. ”

Belcanto.ru, 28 May 2013

“It is hard to believe, but now we have our own “Tristan”! Now you can plunge for four and a half hours into a fantastic potion that is boiling and roaring in the orchestra pit. There the strings are thrilled, the timpani rumble audaciously and the horns ring expressively. So many things happen in it that there is even no need to look at the stage and at the glowing surtitles with the Russian translation. It is a tremendous job and a fabulous victory. ”

Colta.ru, 20 May 2013

“The stage director Nicola Raabhas donea conceptually quiet, but interesting work. Itshowsthe image of the old romantic theatre; it is a good thing that the set designer George Souglides used the sketches by Alfred Roller from the 1903 Vienna production.
In the harmonic production the direction doesn’t aim to come to the front, but it was nevertheless evident that the director had thought out an original story of a non-encounter. Each of the two characters is a soloist than a partner: the lovers sang about yearning, separation and pleasure to themselves and the audience, but not to each other.
It is not a defect, but the underlying theme of the production: Tristan and Isolde seem to belong to different epochs. Isolde is a pagan fortune-teller, a part of the nature, filled with the blood of vegetation health. After death such people fall back to the earth as life-giving precipitation. Tristan is an essentially losing individualist of the new time, doomed to loneliness and death”.

Vedomosti, 25 May 2013

“The productionis a refined and clear interpretation, which readily lends itself to non-cool introduction. And it is just a serious theatre work that Moscow needed so much”.

Kommersant, 22 May 2013

“The conductor Jan Latham-Koenig proves one more time after Lohengrin’s production here at the Novaya Opera that in Moscow there are orchestras which can master Wagner’s scores. ”

Nezavisimaya Gazeta, 23 May 2013

“One of the main lucky finds of the production is that the producers have managed to strike a delicate balance between reality and a particular veil of romantic mystery which unfolds amidst real things and interiors and, at the same time, absolutely separately from them. ”

RIA Novosti, 20 May 2013