From around the world: Vienna. (International).(Opera Review)

Deborah Voigt's first Isolde was one of the most highly anticipated performances of the 2002-03 season. Adding to the excitement, her assumption of the role of Wagner's Irish princess at the Vienna State Opera was the occasion for a new production (seen at the premiere, May 25).

From a musical point of view, it would be difficult to imagine a more successful role debut. After some initial uncertainty, Voigt quickly found the right mix of middle and lower registers, and from then on, the top notes poured out like vocal gold, riding the crest of the Wagnerian waves. Gunter Kramer's staging afforded Voigt little help in establishing a character, so she did the work herself, using clear, thoughtful diction and noble, elegant phrasing, culminating in a ravishing Liebestod. Legendary Isoldes do not spring fully-formed into a first performance, but with this triumphant outing (curtain calls went on for more than twenty minutes), one can imagine that Voigt might soon be changing her nickname from "Ariadne Inc." to "Isolde GmbH."

Thomas Moser proved a sensitive partner in his first Tristan. Comfortable with both heldentenor might and honeyed lyricism, he held one's attention throughout Tristan's long Act III monologue. As King Marke, Robert Holl (a third role-debutant) used his customary outstanding word coloration to good advantage, but his dry bass lacks the command and tonal luster to breathe life into the role's longueurs. As Brangane, Petra Lang displayed a light mezzo that frequently fell below pitch and failed to provide a tonal contrast to her mistress. Peter Weber was a superb Kurwenal, gruffly mocking Isolde and unusually sensitive when tending to the wounded Tristan. Markus Nieminen's bright, metallic baritone made him an impressive Melot.

Though he received the largest ovation of the evening, Christian Thielemann led a ...