Wagner’s great opera is not only a love story but also a hymn of praise to love. Tristan falls for Isolde, the bride he has brought from Ireland for his uncle, King Marke. Their passion for eachother ignores caution and leads to disaster.

The music is a glorious mix of lush romanticism and dramatic brooding and to hear it played by the vast London Philharmonic Orchestra is a joy.

The setting, made up of incomplete concentric circles, suggests a vortex that is sucking the lovers inextricably to their doomed fate. The lighting arouses mixed feelings. At times the stage is illuminated with brilliant colours, notably the sunrise, while at others it is dull, matching the drab costuming.

The opera, being without a lot of action, is staged as a series of tableau vivant that highlight the exceptional quality of the singing.

Illness necessitated a replacement for the role of Brangane, Isolde’s handmaiden. Sarah Connolly, last seen as Giulio Cesare earlier in the season, successfully filled the breach with tremendous brio.

Georg Zeppenfeld, as the King, impressed with his powerfully strong voice and regal presence.

Likewise Andrzej Dobber, Tristan’s friend, stood out with his vocal power.

As Tristan Torsten Kerl, although good in his solo numbers, was eclipsed by the sheer power of Anja Kampe’s voice, particularly in the duet at the start of Act 2.

As Isolde, Miss Kampe was superb throughout, blending vocal power with gentle lyricism. Her final aria was magnificent in the beauty of its delivery.