Tristan und Isolde, opera, WWV 90: Act 3. Wie sie selig, hehr und milde
Tristan und Isolde, opera, WWV 90: Act 3. O Wonne! Freude!
Tristan und Isolde, opera, WWV 90: Act 3. O diese Sonne!
Tristan und Isolde, opera, WWV 90: Act 3. Ha! Ich bin's,
Tristan und Isolde, opera, WWV 90: Act 3. Kurwenal! hör! Ein zweites Schiff,
Tristan und Isolde, opera, WWV 90: Act 3. Tot denn alles!
Tristan und Isolde, opera, WWV 90: Act 3. Mild uns leise wie er lächelt,
This release of a live performance from 1948 in Buenos Aires should be a part of any Wagner lover's collection. In the title roles we get Kirsten Flagstad, somewhat late in her career but still in glorious voice (she sings... more » one of the high Cs in Act II and ducks the other!), singing with an outpouring of sound that is as smooth as silk, as finely shaded as a painter's palette, and as voluptuous as a volcanic eruption, along with tenor Set Svanholm. The latter, quite simply, sings the opera's second act more beautifully, with more shading and sensitivity than any other singer I've ever heard; his final act is one great manic-depressive outburst after another. The Brangaene is soprano Viorica Ursuleac, who learned the part for these performances and who sings it as if she had felt it and lived it for years. Kurwenal is the great Hans Hotter, and he is everything Tristan could want--hale, good-natured, caring, loyal--and everything we could want: a singer of great breeding and taste, with a big, somewhat gruff but always expressive sound. King Marke is Ludwig Weber, who, while not plumbing the character's depth as does, say, Martti Talvela (on the superb Boehm recording with Nilsson and Windgassen), nevertheless makes us feel the sad King's plight. Holding it all together is the amazing Erich Kleiber, who captures the emotional adventure of Act I, the dreamy landscape of Act II, and the desperation, longing, and ultimate peace of Act III like no other--not even Furtwängler. This is the best-conducted Tristan on disc. Try to ignore the poor sound--and it can get in the way--and order this right away. It's as deep as the sea, and you'll never forget it. --Robert Levine« less
This release of a live performance from 1948 in Buenos Aires should be a part of any Wagner lover's collection. In the title roles we get Kirsten Flagstad, somewhat late in her career but still in glorious voice (she sings one of the high Cs in Act II and ducks the other!), singing with an outpouring of sound that is as smooth as silk, as finely shaded as a painter's palette, and as voluptuous as a volcanic eruption, along with tenor Set Svanholm. The latter, quite simply, sings the opera's second act more beautifully, with more shading and sensitivity than any other singer I've ever heard; his final act is one great manic-depressive outburst after another. The Brangaene is soprano Viorica Ursuleac, who learned the part for these performances and who sings it as if she had felt it and lived it for years. Kurwenal is the great Hans Hotter, and he is everything Tristan could want--hale, good-natured, caring, loyal--and everything we could want: a singer of great breeding and taste, with a big, somewhat gruff but always expressive sound. King Marke is Ludwig Weber, who, while not plumbing the character's depth as does, say, Martti Talvela (on the superb Boehm recording with Nilsson and Windgassen), nevertheless makes us feel the sad King's plight. Holding it all together is the amazing Erich Kleiber, who captures the emotional adventure of Act I, the dreamy landscape of Act II, and the desperation, longing, and ultimate peace of Act III like no other--not even Furtwängler. This is the best-conducted Tristan on disc. Try to ignore the poor sound--and it can get in the way--and order this right away. It's as deep as the sea, and you'll never forget it. --Robert Levine
"It may well be that this was one of the greatest performances that there has ever been. Unfortunately, you can't really hear it, because of the rough and distant recording. It's pretty bad even for a live theatre recording in 1948. You can hear the woodwinds well (they aren't always in tune), the rest of the orchestra reasonably, but the singers could be 50 yards away, and possibly were. In the first act you can only hear occasional words from anyone, and some utterances of Brangane are completely swamped. As the Amazon house reviewer says, it does improve at some points so you can actually hear the singers properly; luckily, this correponds with some of the greatest moments, for example the Act II duet. But immediately following this Marke's monologue is blighted by a great increase in hiss, as if someone just put in a cheaper tape. From what you can hear, the conductor and singers live up to their reputations handsomely, but the sound was all too wild and woolly to make any great impression on me. I might try Carlos Kleiber's (Erich's son's) live recordings to see if they live up to the family tradition in better sound."