TRISTAN & ISOLDE

DIE WALKUERE

FLYING DUTCHMAN

Wagner: Der fliegende Holländer, WWV 63 [Recorded 1960]

Wagner: Opera Excerpts

WAGNER, R.: Rheingold (Das) (DNO, 1999) (NTSC)

TRISTAN UND ISOLDE

In the final part of Wagner's epic cycle, Der Ring des Nibelungen, Siegfried's world descends into falsehood and betrayal before his cursed life is ended by a single spear.

Jan Philipp Gloger’s controversial Bayreuth production of Die Fliegende Holländer was greeted with huge acclaim. He translates the Dutchman’s tale of travail and redemption to a future where part-human/part-cyborgs grind out an existence in a world completely subservient to business and commerce. The production stars Samuel Youn, Ricarda Merbeth, and Franz-Josef Selig, and is conducted by Christian Thielemann. ‘‘…Mr. Youn…sings with dignity touched with anguish.’’ - The New York Times

“This set is essential” concluded Gramophone of the Ring cycle when this 2008 production was issued complete. Christian Thielemann leads a performance of masterful pacing and burning conviction that features detailed interpretations from many of today’s most experienced interpreters of their complex and glorious roles.

Another good transfer for this legendary Karajan performance

"In his Gramophone Collection on Tristan (10/95) AB placed this Karajan at No 4 in his top five, with Böhm (1966), Furtwängler and Knappertsbusch (1950) ahead of it. That high position is earned primarily by Karajan’s spell-binding conducting, evident early on as the Act 1 Prelude, at a slowish tempo, builds inexorably to an engulfing climax. Some episodes, like Brangäne’s Act 1 narrations and the early stages of the Act 2 duet, are driven forward so brusquely that they risk sounding perfunctory. Nevertheless – and taking into account what we know of Karajan’s impatience with his Tristan and the hothouse Bayreuth atmosphere at the time – there is never any sense of conductor and singers at odds. Mödl is not the most seductive of Isoldes, but her scornful vehemence in Act 1, her volatile passion in Act 2 and her commanding projection of the ‘Liebestod’, confidently riding the waves of Karajan’s orchestra, are supremely compelling. Ramón Vinay has all the confidence and stamina necessary to sing the part uncut, and although the early stages of Act 3 are rather prosaic, the ensuing delirium is almost frighteningly intense, with ample power in reserve for the climactic high As. The rest of the cast list speaks for itself, with Ira Malaniuk an admirably engaged Brangäne and Weber an eloquent Marke.

In the end, there is frustration at the degree to which the hugely important role of the orchestra is reduced to a relatively dim, and at times distorted, background, such is the prominence the microphones accord the voices. But while many recordings redress that imbalance effectively, few can match the overall impact of this one.

Arnold Whittall, The GRAMOPHONE

Another marvellous night at Bayreuth

This is a revelatory interpretation of a work which is not easy to bring off. André Cluytens had taken over the musical direction from Eugen Jochum at short notice, and he seems energised by the challenge. Contemporary reviews spoke of the bright, shining strings and the luminous texture of the orchestra, and of the ‘intoxicating magic’ of the whole concept – all of which is confirmed by this first release. It comes from the second year of what is still considered one of Wieland Wagner’s most elevating productions, and the photos in the booklet show us its moving simplicity and sense of dedication. Director and conductor seem to have persuaded a fine cast to give of their very best. Wolfgang Windgassen, who also takes the title-role in Wolfgang Sawallisch’s 1962 recording from Bayreuth, is here in fresher voice and is even more alternately elated and anguished in his delivery than seven years later. His paean to Venus in Act 1 is as heroically fervent as his narration in Act 3, telling of the Pope’s rejection of his appeal for pardon, and expressing his own terrible torment of the spirit.

His true love, Elisabeth, is sung with total commitment and vibrant, outgoing voice by Gré Brouwenstijn. Her radiance in ‘Dich teure Halle’ and her reverence in her Act 3 Prayer could hardly be better done, equalling if not surpassing Anja Silja’s rather different but just as valid approach in 1962. Just before the Prayer she sings ‘Er kehret nicht zurück’ – ‘he has not come back’ – with utter conviction. The young Fischer-Dieskau is a model Wolfram with a heart of gold and tone to match, each phrase benefiting from his eloquent approach. Josef Greindl, if you can excuse variable intonation, is an imposing Landgraf. Herta Wilfert, a little-known mezzo, is competent but perhaps a little staid as Venus, certainly when compared to the young Grace Bumbry in 1962.

Wieland, as later in 1962, opts for the Paris version in Act 1, the Dresden in Act 2. The latter restores Walther’s solo, a definite plus when it is sung with such beauty by Josef Traxel. The choral singing is up to the superb standard of Wilhelm Pitz during his long reign as Bayreuth’s chorus-master, and Cluytens draws playing of tremendous élan from what sounds like a vintage Bayreuth band. The mono sound is so good that you soon forget any limitations. This set enters the pantheon of great Bayreuth performances on disc.

Alan Blyth, The GRAMOPHONE

Although Knappertsbusch conducted “Lohengrin” many times, until now no recording by him has been issued, so the welcome discovery of this live performance from Munich fills a gap in the discography... We first hear Knappertsbusch pushing the Prelude on, refusing to linger but instead urging the singing strings to create what is almost a sense of tension and expectation, culminating in the great chordal climax by the brass. The Act II Prelude, too, is wonderfully played, the orchestra producing a dark, brooding sound proleptic of Ortrud’s calling upon the “Entweihte Götter!” --MusicWeb

Classical Music

This is not a historical recording. Yet mysteriously the music is performed in an interpretation which is historically authentic down to the last detail. The key to this mystery is: The original performer was present at the recent recording session, but not physically: The music is heard on a modern Steinway. Never has music stored in the Welte-Mignon system sounded so "right" or so good. Thanks to TACET's much-praised recording technique, and because the Welte-Mignon memory system and sound production mechanism have now been newly adjusted for the first time by the leading expert in the field - and are thus able to meet TACET's requirements. (Welte-Mignon was invented in 1904.) the Welte-Mignon mystery can now speak to US without distortion.