Clara Schumann wrote that Tristan und Isolde was "the most repugnant thing I have ever seen or heard in all my life". [33]

The opera is noted for its numerous expansions of harmonic practice; for instance, one significant innovation is the frequent use of two consecutive chords containing tritones (diminished fifth or augmented fourth), neither of which is a diminished seventh chord (F–B, bar 2; E–A-sharp, bar 3). Tristan und Isolde is also notable for its use of harmonic suspension – a device used by a composer to create musical tension by exposing the listener to a series of prolonged unfinished cadences, thereby inspiring a desire and expectation on the part of the listener for musical resolution. [17] While suspension is a common compositional device (in use since before the Renaissance), Wagner was one of the first composers to employ harmonic suspension over the course of an entire work. The cadences first introduced in the prelude are not resolved until the finale of Act III, and, on a number of occasions throughout the opera, Wagner primes the audience for a musical climax with a series of chords building in tension – only to deliberately defer the anticipated resolution. One particular example of this technique occurs at the end of the love duet in Act II ("Wie sie fassen, wie sie lassen...") where Tristan and Isolde gradually build up to a musical climax, only to have the expected resolution destroyed by the dissonant interruption of Kurwenal ("Rette Dich, Tristan!"). The deferred resolution is frequently interpreted as symbolising both physical sexual release and spiritual release via suicide – the long-awaited completion of this cadence series arrives only in the final " Liebestod" ("Love-Death"), during which the musical resolution (at "In des Welt-Atems wehendem All") coincides with the moment of Isolde's death. [18] As part of carrying out the missions assigned to it, the Payroll Department (DS) is approached by its partners (banks and embassies) but also by users (State officials) exercising over the entire scope of the territory. The latter often encounter enormous difficulties in handling their requests.The score calls for a soprano, and Brangäne was sung by one in the original production; however, the role has been generally sung by a mezzo-soprano ( Jander, Steane & Forbes 1992, vol. 3, p. 372). Almost all available recordings feature a mezzo-soprano as Brangäne (see Tristan und Isolde discography). Schott Aktuell Archived 14 May 2016 at the Portuguese Web Archive. January/February 2012, pp. 10–12, accessed 3 March 2012 The four notes of the chord have been the subject of endless musicological wrangling, which has attempted to define its significance in the opera itself, as well as how it has gone on to have a life of its own, as signifier of heightened and frustrated desire and tension not only in Wagner’s later operas but in all manner of fin de siècle works, good and bad. The New Grove dictionary does its best at a summary: ‘It can be explained in ordinary functional harmony as an augmented (French) sixth with the G sharp as a long appoggiatura to the A, or…as an added sixth chord in first inversion with chromatic alterations.’ If ever an opera seemed resistant to such analysis, though, it is Tristan, whose world is patently not one of ‘ordinary functional harmony’, as is made clear even in those first three bars of the Prelude, whose Langsam und schmachtend (‘Slow and yearning’) marking is as much a precis of the action as a musical direction. Gregor-Dellin, Martin (1983). Richard Wagner: His Life, His Work, His Century. London: William Collins. ISBN 978-0-00-216669-0. The first production outside of Germany was given at the Theatre Royal, Drury Lane, London in 1882; Tristan was performed by Hermann Winkelmann, who later that year sang the title role of Parsifal at Bayreuth. It was conducted by Hans Richter, who also conducted the first Covent Garden production two years later. Winkelmann was also the first Vienna Tristan, in 1883. The first American performance was held at the Metropolitan Opera in December 1886, conducted by Anton Seidl.

Kennedy, Michael (Cambridge University Press, 2006), Richard Strauss: Man, Musician, Enigma, p. 67. Google Books Wagner would later describe his last days in Zurich as "a veritable Hell". Minna wrote to Mathilde before departing for Dresden: Quiroga, Horacio (2021). Cuentos de amor de locura y de muerte. [Milano]. ISBN 979-12-208-5606-5. OCLC 1282638004. {{ cite book}}: CS1 maint: location missing publisher ( link) Charles Suttoni, Introduction, Franz Liszt: Complete Piano Transcriptions from Wagner's Operas, Dover PublicationsThe Prelude and Liebestod is a concert version of the overture and Isolde's Act III aria, "Mild und leise". The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The Liebestod can be performed either in a purely orchestral version, or with a soprano singing Isolde's vision of Tristan resurrected. Après son inscription par un agent enrôleur, l’usager reçoit dans sa boite mail un message de « E-Solde » comprenant les informations suivantes : The next production of Tristan was in Weimar in 1874. Wagner himself supervised another production of Tristan in Berlin in March 1876, but the opera was only performed in his own theatre at the Bayreuth Festival after his death; Cosima Wagner, his widow, oversaw this in 1886, a production that was widely acclaimed. Millington, Barry, ed. (1992). The Wagner Compendium: A Guide to Wagner's Life and Music. London: Thames & Hudson. ISBN 978-0-500-28274-8. Nietzsche, Friedrich (1979). Ecce Homo. Translated by Roger Hollingdale. New York: Penguin. ISBN 978-0-14-044515-2.