The Met’s latest production, under the direction of Yuval Sharon, is stronger on the philosophical than the psychological. Sharon, who first drew notice for astounding multimedia spectacles with the Industry company in Los Angeles, is an experienced Wagnerian who presented a persuasive feminist take on “Lohengrin” at the Bayreuth Festival in 2018. He has a grounding in Brechtian theatre and is not one to dawdle in Romantic atmosphere. He sees Tristan and Isolde not as isolated flesh-and-blood characters but as archetypes who recur across tellings and retellings of the legend, from medieval times to the present. The opera unfurls on two planes. One, at the front of the stage, is centered on tables where rituals take place—a shared drink, a meal, a deathbed watch. The other, filling the Met’s proscenium, is an iris-like portal that suggests a gateway into dream worlds and the beyond. The singers are accompanied by doubles performing parallel actions on one or the other plane.