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• Opening credits
• Introduction by Deborah Voigt and interview with Met General Manager Peter Gelb
• Einleitung (Prelude)
• Westwärts schweift der Blick
• Frisch weht der Wind der Heimath zu
• Weh! Ach wehe! Dies zu dulden!
• Auf! Auf! Ihr Frauen! Frisch und froh!
• Begehrt, Herrin, was Ihr wünscht
• Tristan!...Isolde!...Treuloser Holder
• Introduction by to Act II by Deborah Voigt
• Einleitung (Prelude)
• Hörst du sie noch?
• Isolde! Geliebte!...Tristan! Geliebter!
• O sink' hernieder, Nacht der Liebe
• Einsam wachend in der Nacht
• Lausch' Geliebter! Lass mich sterben!
• Doch unsre Liebe, heisst sie nicht Tristan und...Isolde?
• So stürben wir, um ungetrennt
• Rette dich, Tristan!
• Thatest du's wirklich? Wähnst du das?
• O König, das kann ich dir nicht sagen
• Introduction to Act III by Deborah Voigt
• Einleitung: Mässig langsam
• Einleitung: English horn solo
• Kurwenal! He! Sag', Kurwenal!
• Hei nun! Wie du kamst?
• Noch losch das Licht nicht aus
• Noch ist kein Schiff zu seh'n
• Bist du nun tot? Lebst du noch?
• O diese Sonne! Ha, dieser Tag!
• Ha! Ich bin's, ich bin's süssester Freund!
• Kurwenal! Hör'! Ein zweites Schiff
• Mild und leise wie er lächelt
• Bows and closing credits
• Backstage at the Met with host Deborah Voigt. Interview with Stuart Skelton ; Interview with Nina Stemme ; Interview with René Pape ; Interview with Pedro Díaz ; Interview with Ekaterina Gubanova and Evgeny Nikitin ; Interview with Sir Simon Rattle
• Tantris (Young Tristan): Gallery Met short by Elizabeth Peyton and Kristian Emdal

Met audiences were fascinated by Mariusz Treliński's gripping, visionary production of Wagner's epic opera. In the daunting title roles of the doomed lovers, Nina Stemme and Stuart Skelton are passionate, overwhelming, and heartbreaking as they battle every obstacle that separates them from their true destiny. René Pape is King Marke, betrayed not only by Isolde but by Tristan, the man he most trusts and loves like a son. With Ekaterina Gubanova as Isolde's confidante Brangäne and Evgeny Nikitin as Kurwenal, Tristan's loyal lieutenant. Simon Rattle conducts a surging, shimmering account of Wagner's monumental score

• Act I: Introduction
• Act I, Scene
• 1: Westwärts schweift der Blick (A young sailor, Isolde, Brangäne)
• Act I, Scene
• 2: Frisch wht der Wind der Heimat zu (A young sailor, Isolde, Brangäne, Kurwenal, Tristan, chorus)
• Act I, Scene
• 3: Weh, ach wehe! Dies zu dulden! (Isolde, Brangäne, chorus)
• Act I, Scene
• 4: Auf! Auf! Ihr Frauen! Frisch und froh! (Kurwenal, Isolde, Brangäne)
• Act I, Scene
• 5: Begehrt, Herrin, was Ihr wünscht (Tristan, Isolde, chorus)
• Act I, Scene
• 5: Tristan! - Isolde! - Treulose Holder! (Isolde, Tristan, chorus, Brangäne, Kurwenal)
• Act II: Introduction
• Act II, Scene
• 1: Hörst du sie noch? (Isolde, Brangäne)
• Act II, Scene
• 2: Isolde! Geliebte! - Tristan! Geliebter! (Tristan, Isolde)
• Act II, Scene
• 2: O sink hernieder, Nacht der Liebe (Tristan, Isolde)
• Act II, Scene
• 2: Einsam wachend in der Nacht (Brangäne)
• Act II, Scene
• 2: Lausch, Geliebter! - Laß mich sterben! (Isolde, Tristan)
• Act II, Scene
• 2: So stürben wir, um ungetrennt (Tristan, Isolde, Brangäne)
• Act II, Scene
• 3: Rette dich, Tristan! (Kurwenal, Tristan, Melot)
• Act II, Scene
• 3: Tatest du's wirklich? Wähnst du das? (Marke, Tristan)
• Act II, Scene
• 3: O König, das kann ich dir nicht sagen (Tristan, Isolde, Melot)
• Act III: Introduction
• Act III, Scene
• 1: Kurwenal! He! Sag, Kurwenal! (A shepherd, Kurwenal, Tristan)
• Act III, Scene
• 1: Dünkt dich das? (Tristan)
• Act III, Scene
• 1: Der einst ich trotzt' (Tristan, Kurwenal)
• Act III, Scene
• 1: Noch ist kein Schiff zu sehn! (Kurwenal, Tristan)
• Act III, Scene
• 1: Bist du nun tot? Lebst du noch? (Kurwenal, Tristan)
• Act III, Scene
• 2: O diese Sonne! Ha, dieser Tag! (Tristan, Isolde)
• Act III, Scene
• 2: Ha! Ich bin's, ich bin's, süßester Freund! (Isolde)
• Act III, Scene
• 3: Kurwenal! Hör! Ein zweites Schiff (A shepherd, Kurwenal, a steersman, Brangäne, Melot, Marke)
• Act III, Scene
• 3: Tot denn alles (Marke, Brangäne)
• Act III, Scene
• 3: Mild und leise wie er lächelt (Isolde)
• End credits

An opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg, which in turn was based on the story of Tristan and Isolde as told in French by Thomas of Britain. The story of Tristan and Isolde was one of the quintessential romances of the Middle Ages and the Renaissance.

Wagner's masterpiece, the ultimate symbol of mutual love unhappy, staged by Christoph Marthaler in Bayreuth. We know the story: Tristan and Isolde, who travel in Cornwall to marry Isolde to King Marke, accidentally drink the "Herbez wine"--Which Wagner calls the "love potion, " and that Isolde's mother had intended for future spouses. The effect is immediate: under the influence of magic, Tristan and Isolde fall passionately in love, defying the laws and King Marke. One can not leave the other without hurting the beloved by his/her absence ... The themes of Tristan are probably the most famous of the musical repertoire, and its opening, his prelude to the third act, and the final aria of Isolde dying are frequently integrated into concert programs. More recently, Lars von Trier used it as the soundtrack of his film Melancholia (2011). Created in 1865 by Hans von Bülow, Tristan has been preoccupying Wagner for many years, from writing the libretto to its first representation. Temple of Wagnerian opera, Bayreuth hosts Christoph Marthaler that features this Tristan with the colors of the 1950s. The success of Wagner's Tristan and Isolde refreshes the adventures of medieval lovers of Cornwall, told with passion by writers like Beroul, Thomas, Marie de France and Gottfried von Strassburg in the 12th and 13th centuries. A few years later, the French medievalist Joseph Bedier rewrote the story, mixing different versions of the legend, some of which have survived only in fragments.

• Opening credits
• Introduction with Susan Graham
• Einleitung (Prelude)
• Westwärts schweift der Blick
• Frisch weht der Wind der Heimath zu
• Weh! Ach wehe! Dies zu dulden!
• Auf! Auf! Ihr Frauen! Frisch und froh!
• Begehrt, Herrin, was Ihr wünscht
• Tristan! Isolde! Treuloser Holder
• Intermission feature: Susan Graham interviews Maestro Levine
• Intermission feature: Susan Graham interviews Joe Clark
• Einleitung (Prelude)
• Hörst du sie noch?
• Isolde! Geliebte! Tristan! Geliebter!
• O sink' hernieder, Nacht der Liebe
• Einsam wachend in der Nacht
• Lausch' Geliebter! Lass mich sterben!
• Doch unsre Liebe, heisst sie nicht Tristan und Isolde?
• So starben wir, um ungetrennt
• Rette dich, Tristan!
• Tatest du's wirklich? Wähnst du das?
• O König, das kann ich dir nicht sagen
• Intermission feature: Susan Graham interviews Deborah Voigt and Michelle DeYoung
• Intermission feature: Susan Graham interviews Sarah Billinghurst
• Einleitung: Mässig langsam
• Einleitung: English horn solo
• Kurwenal! He! Sag', Kurwenal!
• Hei nun! Wie du kamst?
• Noch losch das Licht nicht aus
• Noch ist kein Schiff zu seh'n
• Bist du nun tot? Lebst du noch?
• O diese Sonne! Ha, dieser Tag!
• Ha! Ich bin's, ich bin's süssester Freund!
• Kurwenal! Hör'! Ein zweites Schiff
• Mild und leise wie er lächelt
• Bows and closing credits

James Levine's love for this monumental opera shimmers throughout this exciting performance. It was an afternoon to remember: Met favorite Deborah Voigt singing her first run as the proud Irish princess opposite tenor Robert Dean Smith--making an astonishing Met debut in front of a live worldwide movie-theater audience. Michelle DeYoung was a sisterly Brangäne and Matti Salminen an imposing King Marke

"Glyndebourne's celebrated production of Nikolaus Lehnhoff's Tristan und Isolde is a supremely intelligent achievement; gravely beautiful, haunting and meditative, it is deeply reflective rather than visceral, fortified by Roland Aeschlimann's stunningly effective set, a womb-like space through which the protagonists move like gods."-- Original container

• Disc
• 1. Acts 1 & 2
• Disc
• 2. Act 3.

"The towering Wagner opera becomes an optimistic work about two people who succeed in finding love"--Container.

• Opening credits
• Einleitung (Prelude)
• Westwärts schweift der Blick
• Frisch weht der Wind der Heimath zu
• Weh! Ach wehe! Dies zu dulden!
• Auf! Auf! Ihr Frauen! Frisch und froh!
• Begehrt, Herrin, was Ihr wünscht
• Tristan! Isolde! Treuloser Holder
• Einleitung (Prelude)
• Hörst du sie noch?
• Isolde! Geliebte! Tristan! Geliebter!
• O sink' hernieder, Nacht der Liebe
• Einsam wachend in der Nacht
• Lausch' Geliebter! Lass mich sterben!
• Doch unsre Liebe, heisst sie nicht Tristan und - Isolde?
• So starben wir, um ungetrennt
• Rette dich, Tristan!
• Tatest du's wirklich? Wähnst du das?
• O König, das kann ich dir nicht sagen
• Einleitung: Mässig langsam
• Einleitung: English horn solo
• Kurwenal! He! Sag', Kurwenal!
• Hei nun! Wie du kamst?
• Noch losch das Licht nicht aus
• Noch ist kein Schiff zu seh'n
• Bist du nun tot? Lebst du noch?
• O diese Sonne! Ha, dieser Tag!
• Ha! Ich bin's, ich bin's süssester Freund!
• Kurwenal! Hör'! Ein zweites Schiff
• Mild und leise wie er lächelt
• Bows and closing credits

The utter timelessness of Wagner's masterpiece is superbly captured in Dieter Dorn's production, designed by Jürgen Rose. It strips away the usual visual ballast from the drama to reveal the searing emotional truth at its core. Under James Levine's probing conducting the great Met orchestra is a central character in the story. Ben Heppner and Jane Eaglen are Tristan and Isolde, overwhelmed by their all-consuming love for each other which defies society and the law. René Pape is a devastating King Marke, the man robbed of his wife by his best friend. Hans-Joachim Ketelsen and Katarina Dalayman complete the cast

• Four last songs, op. 150 / Richard Strauss
• Tristan und Isolde. Act II / Richard Wagner.

Renée Fleming and Claudio Abbado, Strauss and Wagner: a dream team for a memorable concert. For the opening of the Lucerne Festival in August 2004, Claudio Abbado chose the emotion of a voice. The whole realm of the possibilities offered by the voice are here: the melodic side of Richard Strauss's Four Last Songs and the operatic depth of the second act of Richard Wagner's Tristan und Isolde, performed in one go. On stage, shined a constellation of stars. First of all, the Lucerne Festival orchestra featuring world class soloists such as cellist Natalia Gutman or the clarinetist Sabine Meyer. The American soprano Renée Fleming opened the night with the Four Last Songs, the beauty of her sound and the modesty of her emotions offered a magnificent and refined vision of Richard Strauss's masterpiece. Tristan gathered the ideal casting with Violeta Urmana, Renée Pape and Mihoko Fujimara. The brightest star of the night was surely Claudio Abbado who weaved a soft and silky orchestral fabric, together with tremendous solos. Despite the nimbleness of the interpretation, the dramatic expression of Abbado's Tristan is fiery.

• Tristan und Isolde, Prelude and Liebestod (Orchestral version) / Richard Wagner
• Piano Concerto No. 2 / Béla Bartók
• An Imaginary Orchestral Journey - featuring excerpts from Symphonies Nos 6, 45, 46, 60, 64, 90 and 101; 'The Creation', 'The Seasons', 'The Desert Island', and 'The Seven Last Words of Christ on the Cross' / Joseph Haydn.

Sir Simon Rattle conducts an extraordinary program of orchestral music by Haydn, Wagner, and Bartók joined by the pianist Denis Kozhukhin! Leading the London Symphony Orchestra, the celebrated conductor offers the audience an unusual and fascinating mix of three centuries of music. The concert begins with the intensity of the Prelude and Liebestod from Wagner's Tristan und Isolde, followed by the unforgettable colors and fascinating rhythmic dialogue between orchestra and soloist of Bartók's Second Piano Concerto. An "Imaginary Orchestral Journey" closes the program: this pastiche put together by Rattle himself combines various movements from different works by Haydn to capture the drama, humor, elegance, and lightness of the composer's œuvre.

• Leonore, overture no. 1 ; Symphony no. 9 in D minor, op. 125 / Ludwig van Beethoven
• Tristan und Isolde, Prelude and Liebestod (orchestral version) / Richard Wagner.

A miracle, one would in light of the middle East conflicts believe: the worldwide respected West Eastern Divan Orchestra is made up of young musicians from countries that are engaged in war. The orchestra with youngsters from Israel, Palestine, Syria, Egypt, Lebanon, Jordan, and Spain was formed in 1999 in Weimar. In the following years there have been concerts among others in Berlin, Seville, Rabat, and in summer of 2005 even in Ramallah -- a hotspot in the middle east conflict. A highlight of the summer tour 2006 was the performance of Beethoven's 9th Symphony conducted by Daniel Barenboim featuring star singers including Anglika Denoke and Burkhardt Fritz as well as Waltraud Meier and René Pape. The proceeds from this benefit concert will go to the Fundacion Barenboilm-Said and their music education programs in the Palestinian territories.

Roger Norrington, who is known for his masterful interpretations on original instruments, accepts the challenge of Richard Wagner with a professional carefree nature. He dusts off the late Romantic composer, removing all the kitsch and, together with the radio Symphony Orchestra of Stuttgart, he uses the overtures of Meistersinger von Nürnberg, Tristan und Isolde and Parsifal to demonstrate Wagner's playful elegance.