作曲/脚本：理查德·瓦格纳

指挥：许忠

导演：罗兰·施瓦布

执行导演：迪尔克·吉尔希克

舞美设计：皮耶罗·文奇盖拉

服装设计：加布里埃拉·鲁普雷希特

声乐指导：亚历山德罗·阿莫雷蒂

Composer & Librettist: Richard Wagner

Conductor: Xu Zhong

Director: Roland Schwab

Executive Director: Dirk Girschik

Set Designer: Piero Vinciguerra

Costume Designer: Gabriele Rupprecht

Vocal Coach: Alessandro Amoretti

特里斯坦：叶林·凯夫斯、科比·威尔希

伊索尔德：丽丝·林德斯特伦、宋倩

马克：埃吉尔斯·西林斯、余杨

库文纳尔：凯·斯蒂弗曼

梅洛特：于浩磊

布兰甘妮：贝蒂娜·兰奇、王潇希

牧羊人：郑瑶

舵手：陶阔

Tristan : Erin Caves, Corby Welch

Isolde : Lise Lindstrom, Song Qian

Marke : Egils Silins, Yu Yang

Kurwenal : Kay Stiefermann

Melot : Yu Haolei

Brangäne : Bettina Ranch, Wang Xiaoxi

Ein Hirt : Zheng Yao

Ein Steuermann : Tao Kuo

合唱：上海歌剧院合唱团

演奏：上海歌剧院交响乐团

Chorus : Shanghai Opera House Chorus

Orchestra : Shanghai Opera House Orchestra

上海歌剧院、上海大剧院联合出品

Co-presented by Shanghai Opera House and Shanghai Grand Theatre

上海歌剧院制作

Produced by the Shanghai Opera House

时长：约270分钟（含两次幕休）

Length: c. 270 minutes (incl. two intervals)

理查德·瓦格纳三幕歌剧《特里斯坦与伊索尔德》创作于1857-1859年，1865年在慕尼黑首演，是瓦格纳风格成熟的标志。它以独特的和声、旋律与戏剧融合，开创音乐新纪元，深刻影响后世音乐发展。故事讲述了康沃尔国王马克的外甥特里斯坦，奉命护送爱尔兰公主伊索尔德去与国王成亲，途中二人误饮爱情魔药而相爱，最终以悲剧收场。

2024年12月，在瓦格纳曾孙女、拜罗伊特音乐节艺术总监卡塔琳娜·瓦格纳女士的见证下，全球顶尖音乐节拜罗伊特音乐节品牌宣告首次进驻中国，落地上海，展开“拜罗伊特在上海”三年歌剧计划。2025-2027年，三部瓦格纳重磅歌剧将接连来沪，其中拜罗伊特2022年版歌剧《特里斯坦与伊索尔德》将作为三年歌剧计划中的第一部，于2025年7月4日至6日率先亮相上海大剧院，这也是瓦格纳最具代表性的这部歌剧在上海的首演。此版本由罗兰・施瓦布导演，融入简约现代舞美设计，运用投影技术，舞台呈巨大椭圆形房间，让观众仿佛置身爱情乌托邦，感受独特艺术体验。

Tristan und Isolde, an opera in three acts by Richard Wagner, was created between 1857 and 1859 and premiered in Munich in 1865. It marks the maturity of Wagner's style. With its unique integration of harmony, melody and drama, it has ushered in a new era in music and has had a profound impact on the development of music in later generations. The story goes that Tristan, the nephew of King Marke of Cornwall, was tasked with escorting Princess Isolde of Ireland to marry the king. On the way, the two accidentally drank a love potion and fell in love, and their story finally ended in tragedy.

On December 2024, witnessed by Ms. Katharina Wagner, the great-granddaughter of Richard Wagner and the artistic director of the Bayreuth Festival, the Bayreuth Festival, one of the world's top music festivals, announced its first entry into China and landed in Shanghai, launching the "Bayreuth in Shanghai" three-year opera project. From 2025 to 2027, three major Wagner operas will come to Shanghai one after another. Among them, the 2022 version of the opera Tristan und Isolde from Bayreuth will be the first in the three-year opera project and will make its debut at the Shanghai Grand Theatre from July 4th to 6th, 2025. This is also the premiere of this most representative opera by Wagner in Shanghai. This version is directed by Roland Schwab, incorporating a simple and modern stage design, using projection technology, with the stage set in a huge oval room, enabling the audience to feel as if they are in a utopia of love and experience a unique artistic experience.

【演出介绍】

About the Performance

《特里斯坦与伊索尔德》是关于爱情的终极之作。无论歌剧、戏剧还是电影，从未有任何作品能如此坚持，甚至近乎偏执地叩问爱的本质。瓦格纳虽大胆地称其为“情节活动”，但剧中真正的“活动”寥寥，更多的是对奉献与复仇、白昼与黑夜、否定与超脱的思考。

理查德·瓦格纳为《特里斯坦与伊索尔德》所创作的音乐，是世间最令人沉醉的悲剧诗篇。怎样的舞台，才能呈现这独一无二的音乐？——它前所未有地彻底消融了一切？你我之间的边界，生与死的界限？怎样的场景，才能呼应这音乐？——它以半音化的催眠术将我们渡向无垠宇宙，乃至我们灵魂自身的无垠之境。直到所有语言、所有存在与渴望，都仅剩纯粹声响？——既然这部作品如此极端，我们的回答也必须同样极端：音乐本身，声响本身，即是第一命题。于我们而言，再无更重要的主题。其他一切，皆无需搬演！我们希望为拜罗伊特创作的，是一曲夜晚的渴望柔板——充满诱惑之力，充满超越尘世的彼岸魔力。一场夜间的逃亡狂欢，与当下所有“白昼幽灵”彻底决裂：“……赐我遗忘，忘我尚存……解我尘世之缚！”

知识顾问：康啸，中国音乐学院教授，博士研究生导师

德中、德英译者：姚远，华东师范大学德语系本科

© Bayreuth Festival / Enrico Nawrath

Tristan und Isolde is the ultimate work about love. No opera, no play, no film has ever been so consistent—indeed, so radical—in this regard. In a challenging way termed a "dramatic action" by Wagner, it unfolds fewer actions than reflections on devotion and vengeance, day and night, world-denial and transcendence.

Richard Wagner's music for Tristan und Isolde is the most bewitching negation of life ever created. How can a stage correspond to this unique music—which, like no other, dissolves boundaries? Boundaries between you and me, between life and death? How can a scene correspond to music that transports us through chromatic hypnosis into the boundless universe, even into the boundless universe of our own soul? Until all language, all being and striving, become pure sound? Our response must be equally radical as this work: The music itself, sound itself, is the primary concept. For us, there is no more important theme. Nothing else needs to be staging! What we wish to create for Bayreuth is a yearning Adagio of the Night—full of seduction, full of enchantment that toward the beyond. A nocturnal excess of escapist stands in absolute defiance of all contemporary "daytime phantoms"... "Grant oblivion, that I may cease... release me from the world!"

Knowledge Consultant: Kang Xiao, Professor at the China Conservatory of Music and Doctoral Supervisor.

German-Chinese and German-English Translator: Yao Yuan, undergraduate student from the German Department of East China Normal University.

© Bayreuth Festival / Enrico Nawrath