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IT'S A GREAT ONE ----- CERTAINLY THE MOST LEGENDARY SO FAR
Review date: 2007-10-29 Rating: 10 out of 10
"Tristan Und Isolde" is a huge and powerful score, one that for many is simply "too much" to handle. It has a kind of "black magic" that no other opera has, and it's not an easy score to get a handle on. The music as a whole is, to say the very least, overwhelming. It took me years and years to really "get into it", and I've heard many recordings of it. That said, I find it very much like a narcotic that I must have. Small wonder that Wagner, when writing it, himself said that "this Tristan is driving me mad". Whatever the case, this EMI monophonic recording stands as one of the great recordings of the century, and for good reason. Furtwangler's way with the score is extraordinary. It's as though he sees a supernatural mysticism in the music, and is determined to make it seem as though it takes a life of it's own, which it certainly does here. He is helped enormously by the immortal Kirsten Flagstad, whose vocal power and authority is itself pretty overwhelming. She was 57 years old when she recorded this Isolde, and the voice is not that of a young woman, but rather one that is full of authority and power. This power works well in Act I, and in the opening of Act II, yet amazingly enough, she can voice the sheer lyricism and tenderness for the love duet. Those two infamous high C's (which were supplied by Elisabeth Schwarzkopf) are of no concern whatsoever and I cannot understand why they created such a fuss. EMI could have left them out altogether --- they are of very short duration, and are not important (Helen Traubel, who sang countless Isoldes at the Met after Flagstad's departure, never sang these two top notes!), especially in the light of Flagstad's monumental voice as a whole. And what a voice it was! The middle and lower range had by this time taken on an autumnal beauty that must be experienced rather than described. Ludwig Suthaus' Tristan, while perhaps not on his partner's lofty level, is nevertheless excellent on his own terms. His singing is secure, lyrical when necessary, and certainly powerful enough when he needs to be, especially in Act III. Together, he and Flagstad sing an unforgettable Love Duet. Blanche Thebom
was an American mezzo of great promise, and her youthful Brangane provides a good contrast with Flagstad's mature Isolde. Moreover, her singing of the Warning in the middle of the Love Duet casts a unique spell of it's own. The rest of the supporting cast, especially the young Dietrich Fischer-Dieskau, are all acceptable. But one treasures this wonderful set for the combination of Flagstad and Furtwangler, and it is a combination that has yet to be surpassed. Personally, this recording, as great as it is, should be complemented by the Karl Bohm version, which is completely different, though in it's way, every bit as effective. One final thought --- with the Isoldes of Flagstad and Nilsson, both of whom still stand as the two greatest dramatic sopranos of the Twentieth Century, brave and courageous is the soprano who risks being compared with either of them!
Suthaus has a most attractive masculine heldentenor voice. His is the best of any other Tristan on the market. His tone is more beautiful than Jon Vickers (compare them by listening to the EMI Karajan stereo set). As for complaints that he is strained, his duets with Flagstad are masterful and his performance in Act III is amazing, very moving without being course or histrionic. The end of Act II sound's just as it should, given his charater's waves of erotic and romantic emotion. He lives his role perfectly and has a powerful voice that matches his heroines artistically.
Dietrich Fischer-Dieskau's portrayal of a youthful Kurwenal is of the highest artistic order. I say no more.
Many criticise Blanche Thebom. However, she is never less than highly competent in the role of Brangane. She is a perfect foil for Flagstad's incomparable Isolde. This is a significant role. One that in the wrong hands can threaten to dominate and rival rather than balance with the female lead. Thebom sounds what her role is, a servant of Isolde's, not her rival. Her voice is not unattractive, and suits her role perfectly. Artistically she serves Flagstad, with just enough edginess in her voice to denote her character's wary nervous tension.
Greindl sounds just right as the mature monarch cuckolded by his trophy wife. He sound's angry in Act II, just as his character should. There are prettier voiced interpretations. But his voice perfectly suits the drama.
I am amazed by reviews that overlook the considerable achievement everyone concerned put into this recording. The casting may have been expeditious, but it gave us performances that are dramatically compelling. It is legendary because everybody gave of their considerable best, and tuly inhabited their roles.
Wagner wrote a music-drama. This set represents a perfect blend of both. Buy this set and you will not be disappointed by anyone of the cast.
Yes, this is a fifty year old mono recording, but the sound quality is very good, it is spatial. The remastering onto CD has enhanced the clarity of sound. The conducting is amazing, as one would expect, and the orchestra are of the highest quality. But it is Flagstad who is the revelation. Having heard variou stereo sets, I recently bought this one, realising straight away this is one surpassed all others. Indeed, it is one of the finest recordings of an opera ever produced. Furtwangler takes the work at the correct speed, unlike Bohm's over paced conducting. Flagstad is the selling point though. She has both power and vulnerability. Once you have heard this performance you will find all other recordings stand in it's shadow. Do yourself a favour and buy it, you won't be disppointed.