|Date and venue||Title||Submitted by|
|Tristan und Isolde at Bayreuth||David Karlin|
|When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices. A century and a half later, the novelty of chromaticism and extended use of suspension has somewhat worn off, but the music’s ability to project passion remains, particularly in the hands of all-star players such as the Bayreuth Festival Orchestra, hand-picked from the top orchestras in Germany.
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