Tristan and Isolde are usually perceived as an erotically charged song and music performance - with a murky philosophy of doom in an insignificant act.
The conductor is thus seen as more important than the director.
On the other hand, August Strindberg, for example, liked the play itself - he hated Richard Wagner's music but appreciated him as a poet.
It feels like
Linus Tunström also has respect for the playwright Wagner.
This opera is seldom something to watch.
Not so here in Maja Ravn's scenography and Tunström's exciting scenery.
Now the Folkoperan has also been rebuilt with improved seating comfort and acoustics.
Here the small orchestra (25 instead of type 95 musicians) is surprisingly full-bodied and goosebumps-inducing.
Right from the start, where a saxophone triggers the famous Tristan chord ...
The folk opera is not the first to make this huge Wagnerian drama as a chamber opera.
In fact, the Värmland Opera did that twenty years ago, then as now with a female conductor.
That time it was Cecilia Rydinger.
Here it is Marit Strindlund who successfully leads both orchestra and singer, straightforward with fine drive.
The score is not only
slimmed down, but also shortened - especially in the second act where you go straight to the love duet.
Nevertheless, it is a test of strength in all respects with solid memorabilia.
Now in Swedish in a smooth translation by Eva Ström.
Julia Sporsén is a minor sensation like Isolde, with great and strong play both vocally and scenically.
With her dramatically gothic charisma, she responds best to Tunström's rich and symbolist imagination.
Which sometimes gets overwhelming - here are a couple of mimes who have had to take up too much space.
Jesper Sälls Tristan, on the other hand, feels almost like an ordinary guy who has become crazy.
While the two servants here got a little queer crumbs.
As it so often happens at the Folkoperan.
Tristan and Isolde in this vintage are spectacular, thoughtful and sometimes annoying.
But most stimulating and intoxicating.