Recorded in: London Coliseum 18. 20 and 23 December 1975 Producer(s) John Mordler Sound Engineer(s) Stuart Eltham

CHOEURS DE L'OPERA DE VIENNE -

CABALLÈ SINGS WAGNER

With a collection of titles, if the programme is well played and recorded one can only come up with the usual line of "go ahead if this is the selection you want". Three out of the four overtures here are early ones and for myself, I must say that the mellow blend of the orchestration of the Prelude to Die Meistersinger was a considerable relief after the brashness of Rienzi. But that the playing is fine cannot be denied. The Philharmonia violins sing the "Prize Song" with a softly expressive silkiness of tone that is most beautiful. The quiet blend of the wind at the start of Tannhduser is equally good to hear, while when the "Pilgrims' Hymn" returns towards the end all bombast is avoided by the soft and deft violin figuration being so delicate that the woodwinds can also play softly, as well as quite swiftly. Maazel does allow the greatest expansiveness later on, as the music demands. Nor is there any lack of brilliance or zest in such a piece as the Dutchman Overture or in the final polacca of Rienzi; though there is a top B just before the final molts put stretto (bar 344) where violins and woodwind do take a split second to become unanimous (not such a niggling criticism as it may seem, since the note is quite long and is an important one at the top of a climax).

-- Gramophone [3/1980]

BERNSTEIN FAVORITES- OPERA FOR

THE ROYAL EDITION - WAGNER: OR

Includes work(s) by Richard Wagner (Composer). Conductor: Leonard Bernstein.

WAGNER: OVERTURES - SELECTIONS

This collection presents the under-rated tenor Siegfried Jerusalem in a program of favorite arias: Wagner, Weber, Mozart and Weinberger as well as selections by Smetana, Meyerbeer and Tchaikovsky, all sung in German. Jerusalem, the tenor of choice in Wagnerian repertoire in the late 70s and 80s, is always an intense performer on stage, but under-recorded in some of his key roles. There is steel in his voice and, of course, this is necessary in much of Wagner, but there is also a need for lyricism and Jerusalem sings with an almost italianate elegance. The arias from 'Lohengrin' achieve this elegance, while the "Prize Song" from 'Die Meistersinger von Nürnberg' is suitably ecstatic.
Jerusalem shines in non-Wagnerian works, too. His Tamino from Mozart's 'Die Zauberflöte' is just right, and "Dies Bildnis is bezaubernd schön" is full of fresh, youthful vigor. His rendition of Lensky's aria from Tchaikovsky's 'Eugene Onegin' is heartbreaking and well-characterized--a high point of the disc. Duets from Weinberger's 'Schwanda, der Dudelsackpfeifer' with Hermann Prey and the late, magnificent Lucia Popp are a real treat. If you want to discover a great artist in an interesting program, you should grab this one.

"Szell's Wagner collection, recorded in Severance Hall in 1965, remains one of his most impressive...To describe the Cleveland Orchestra as brilliant is inadequate, for the precision and beauty of tone clothe deeper understanding. The concert opens with Ormandy's physically thrilling account of the Tannhauser Overture. He also contributes an ebullient Lohengrin Act III Prelude."

-- Penguin Guide [2003/2004 Edition]

WAGNER: ORCHESTRAL MUSIC BOUL

Performances of The Flying Dutchman stand or fall by the ability of the lead bass-baritone to project the anguished, world-weary yet demonic nature of the accursed seafarer. I was not expecting a definitive reading from James Morris, whose Wotan has often tended towards the bland. But his darkly despairing Monologue is very impressive and comes closer to the superb Fischer-Dieskau (with Konwitschny, available on Berlin Classics) than most recent versions.

-- BBC Music Magazine

In the prologue to Wagner's giant masterpiece, Der Ring de Nibelungen, the beginnings of an epic journey unfold when Alberich seizes the ring of gold, it's awesome power unleashing an unstoppable story of deceit, destruction, death and transfiguring love.

Der Ring

TRISTAN UND ISOLDE: THE DUET S