René Pape is “peerless” and “magnificent” as König Marke in ‘Tristan und Isolde’ at The Met

“In this muddy space King Marke, his white uniform one of the few touches of light in the darkness, was a futile defender of clarity and rightness — particularly as sung by René Pape, who remains unequaled and magnificent …”

Anne Midgette – Washington Post

“… the formidable bass René Pape appears as the king, wearing a handsome white military uniform. Marke is less angry than hurt and confused by Tristan’s betrayal with the woman who is to become queen. Mr. Pape brought opulent sound and affecting dignity to the king’s aching monologue.”

Anthony Tommasini – The New York Times

“Rene Pape was his typically peerless self with his vocally clean, but dramatically powerful King Marke portrayal, pacing the stage in rumination during his great Act II soliloquy.”

David Patrick Stearns – WQXR

“Rene Pape is one of the greatest King Marke interpreters of all time and his performance at the Met was a reminder why. His voice issued the declamatory phrases with tremendous precision of tone, diction and rhythm in the early passages, before giving way to a more delicate sound that underscored Marke’s anger giving way to pain. His physical presence supported this development, first dominant as he circled around a fallen Tristan and then less mobile and distanced from his kinsman as he lamented his situation.”

David Salazar – Latin Post

“… the brilliant bass René Pape … received commensurate ovations. Pape got a big one – which he’d earned by imparting a real sense of injury and emotional stakes during his features.”

Seth Colter Walls – The Guardian

“René Pape commands the stage as usual, this time as the sadly betrayed King Marke.”

Martin Bernheimer – Financial Times

“René Pape was an authoritative King Marke …”

Heidi Waleson – The Wall Street Journal

“René Pape exuded remorseful majesty as King Marke.”

Justin Davidson – Vulture

“René Pape has essentially owned the role of Isolde’s husband King Marke at the Met since he first sang it here in 1999. His bass retains its velvety magnificence, but this time around he brought a sinister edge to the character that added a frisson to his long second act monologue.”

James Jorden – Observer

“René Pape was an autoritative King Marke…”

Heidi Waleson – Opera Now

“René Pape still has one of the most magnificent vocal instruments before the public, a generous, rich bass that he shapes into long, breathing phrases.”

Eric C. Simpson – New York Classical Review