A year after Pierre Audi’s sudden death in Beijing, at age 67, his acclaimed 10-year-old production of Wagner’s Tristan und Isolde gets a reboot at the Dutch National Opera, a company he ran for three decades, through 2015. Americans knew Audi best as artistic director of the Park Avenue Amory, which under his aegis became a periscope on the aesthetically minimal, mechanically maximal theatrical spectacles he cultivated at festivals in Europe. Acolytes regard Audi’s well-traveled Tristan und Isolde as a tribute to the New Bayreuth of the 1950s, when Wagner’s grandsons effectively de-Nazified his legacy by stripping away visual signifiers of Germanness and concentrating on archetypes. In the hurly-burly of contemporary theatrical practice, the approach might seem to verge on the monastic—but if nothing else, it never detracts from the music. With the Finnish composer-conductor wunderkind Tarmo Peltokoski leading the Rotterdam Philharmonic, that’s a high recommendation. Anticipation is running high also for the radiant Malin Byström as Cornwall’s tempestuous princess, ecstatically undone by a love potion. —Matthew Gurewitsch