Tristan und Isolde
In popular culture

Aubrey Beardsley 's pen and ink drawing The Wagnerites shows highly coiffured men and women attending a performance of Tristan und Isolde. The drawing was first published in the Yellow Book, vol III. According to Stephen Calloway, 'Beardsley had an obsessive interest in Wagner, and avidly attended the London performances of the works. This depiction of the Wagnerian audience rather than the action of the opera identified by the fallen programme as Tristan and Isolde, is one of the greatest masterpieces of Beardsley's manière noire. Sickert claimed to have warned him that the drawings in which the area of black exceeded that of white paper were bound to fail artistically, and to have 'convinced him' of the truth of this aesthetic rule. Fortunately Beardsley seems to have ignored the advice.' The drawing is in the collection of The Victoria and Albert Museum.

The following year Beardsley produced a print depicting a stylised image of a woman, standing in front of a half length yellow curtain, wearing an ornate flowered hat and holding a large drinking vessel to her mouth. In the bottom right-hand corner is the word ISOLDE. Isolde was first reproduced in colour lithography (red, green, grey and black) as a supplement to The Studio, October 1895. The drawing (in yellow, black and white) is in the collection of The Victoria and Albert Museum.

The opera forms the backdrop of Horacio Quiroga 's tale of love lost, "La muerte de Isolda" (The Death of Isolde) from his collection Cuentos de amor de locura y de muerte (1917).

In Alfred Hitchcock 's 1963 film The Birds, a recording of Tristan is prominently displayed in the scene in which Annie (Suzanne Pleshette) resignedly reveals to Melanie (Tippi Hedren) her unrequited love for Mitch. For Camille Paglia, the visual inclusion of the LP cover, with the opera's 'theme of self-immolation through doomed love' signifies that Annie is a forlorn romantic.

Dalit Warshaw 's concerto for piano and orchestra, Conjuring Tristan, draws on the opera's leitmotifs to recast the narrative and dramatic events of Thomas Mann 's Tristan through Wagner's music. Warshaw was inspired by developments in Mann's mediation of the Tristan legend which see a former pianist's love for music rekindled by the opera's score.

Lars von Trier 's 2011 film Melancholia prominently features music from the prelude.

The famous Liebestod is used in the soundtrack of the third episode of the first season of The Crown.
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