Rachel nicholls

There are a lot of corpses on stage at the end of Charles Edwards’s production of Tristan & Isolde for Grange Park Opera. At this stage in the drama, directors tend to fade out the bloodbath, the better to focus on Isolde’s final dissolution into bliss. But as Michael Tanner argues, Tristan, like the Ring, offers no bearable solution to its central problem, however much the music – that great deceiver – might try to persuade us otherwise. You want art to tell you the truth? Wagner knew that you can’t handle the truth. He declared that in Tristan ‘from the first to the last, love shall for once find

It’s the final scene of The Valkyrie and Wotan is wearing cords. They’re a sensible choice for a hard-working deity: practical but with a certain retro flair. Slumbering under a red puffer jacket lies his daughter Brünnhilde, and as Wagner’s music yearns and flickers, the Lord of Ravens shuffles slowly around on all fours, methodically attaching the carabiners for the climactic flying effect. First one, then another. Then another. Four more to go! Possibly we’re not meant to be seeing this. Possibly it was meant to be obscured by the ‘large final fire effect’ that a slip in the programme tells us has been cut (‘despite extensive planning’) at the