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Wagner: Tristan und Isolde
CD DetailsComposer: Richard [Classical] Wagner Conductor: Wilhelm Furtw?ngler Orchestra: Philharmonia Orchestra Orchestra: Philharmonia Orchestra of London Performer: Blanche Thebom Performer: Dietrich Fischer-Dieskau Performer: Edgar Evans Performer: Josef Greindl Performer: Kirsten Flagstad Performer: Ludwig Suthaus Performer: Rhoderick Davies Performer: Rudolf Schock Edition: Music CD Format: Original recording remastered CD Release Date: 2001-09-11 Music Label: EMI Classics Soundtracks: Music CD 1- Tristan und Isolde, opera, WWV 90: Act 1.: Prelude
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 1.: "Westw?rts schweift der Blick"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 1.: "Brang?ne, du? Sag - wo sind wir?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 1.: "O weh! Ach! Ach, des ?bels, das ich geahnt!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 2.: "Frisch weht der Wind der Heimat zu"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 2.: "Mir erkoren, mir verloren"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 2.: "Hab acht, Tristan! Botschaft von Isolde"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 2.: "Darf ich die Antwort sagen?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Weh, anh wehe! Dies zu dulden!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Wie lachend sie mir Lieder singen"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Von seinem Lager blickt' er her"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "O Wunder! Wo hatt' ich die Augen?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Da Friede, S?hn' und Freundschaft"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "O S??e, Traute! Teure! Holde! Goldne Herrin!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Ungeminnt den hehrsten Mann"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 3.: "Kennst du der Mutter K?nste nicht?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 4.: "Auf! Auf! Ihr Frauen!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 4.: "Herrn Tristan bringe meinen Gru?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 4.: "Nun leb wohl, Brang?ne!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: Langsam
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Begehrt, Herrin, was ihr w?nscht"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Da du so sittsam, mein Herr Tristan"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Nun will ich des Eides walten"
Music CD 2- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "War Morold dir so wert"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Ho! He! Ha! He! Am Obermast die Segel ein!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Du h?rst den Ruf?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Auf das Tau! Anker los!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Tristan! ... Isolde!"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Was tr?umte mir von Tristans Ehre?"
- Tristan und Isolde, opera, WWV 90: Act 1. Scene 5.: "Schnell, den Mantel, den K?nigsschmuck!"
- Tristan und Isolde, opera, WWV 90: Act 2.: Prelude
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 1.: "H?rst du sie noch?"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 1.: "Der deiner harrt - o h?r mein Warnen!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 1.: "O la? die warnende Z?nde"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 1.: "Und mu?te der Minne t?ckischer Trank"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Isolde! Geliebte! ... Tristan! Geliebter!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Das Licht! Das Licht!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Der Tag! Der Tag"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "In deiner Hand den s??en Tod"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "O nun waren wir Nacht-Geweihte!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "O sink hernieder, Nacht der Liebe"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Einsam wachend in der Nacht"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Lausch, Geliebter!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Unsre Liebe? Tristans Liebe?"
Music CD 3- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Doch unsre Liebe"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "So st?rben, wir, um ungetrennt"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "Habet acht! Habet scht!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 2.: "O ew'ge Nacht, s??e Nacht!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Rette dich, Tristan!"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "tatest du's wirklich?"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Wozu die Dienste ohne Zahl"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Dies wunderhehre Weib"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Nun, da durch solchen Besitz mein Herz"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "O K?nig, das kann ich dir nicht sagen"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Wohin nun Tristan scheidet, willst du, Isold', ihm folgen?"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Als f?r ein fremdes Land"
- Tristan und Isolde, opera, WWV 90: Act 2. Scene 3.: "Verr?ter! Ha! Zur Rache, K?nig!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: Hirtenreigen auf einer Schalmei
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Kurwenal! He! Sag, Kurwenal!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "?d' und leer das Meer! ..."
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Wo du bist? In Frieden, sicher und frei!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "D?nkt dich das? Ich wei? es anders"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Isolde noch im Reich der Sonne!"
Music CD 4- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Noch Iosch das Licht nicht aus"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Mein Kurwenal, du trauter Freund!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: Hirtenreigen auf einer Schalmei
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Nein! Ach nein! So hei?t sie nicht!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Der Trank! Der Trank! Der furchtbare Trank!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Mein Here! Tristan! Schrecklicher Zauber!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Das Schiff? Siehst du's noch nicht?"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: "Wie sie selig, hehr und milde"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 1.: Hirtenreigne auf einer Schalmei
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 2.: "O diese Sonne! Ha, dieser Tag!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 2.: "Ich bin's, ich bin's, s??ester Freund!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 2.: "Die Wunde? Wo? La? sie mich heilen!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 3.: "Kurwenal! H?r! Ein zweites Schiff"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 3.: "Sie wacht! Sie lebt! Isolde!"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 3.: "Mild und leise wir er l?chelt"
- Tristan und Isolde, opera, WWV 90: Act 3. Scene 3.: "Heller schallend, mich umwallend"
Music reviews of Wagner: Tristan und IsoldeMusic Review: POTIONS AND PASSIONS Rating: 5 StarsWhen the recording under review dates from the early 1950's, a reviewer in late 2008 had better start by saying something about the sound quality. In fact I own it on a vinyl set that I have had for well over 40 years, the sound seems very good indeed to me even by more recent standards, and comment that I have read regarding the cd transfer suggests that no disaster has happened in the process. So I give the sound a good pass mark.
What comes to us in this satisfactory sound is, in my own opinion, one of the greatest things in the classical recorded repertory. Whatever one thinks of Furtwaengler's symphonic style, his genius as a conductor of Wagner has no equal that I can think of in the era of recording. The famous or notorious flexibility of his beat is ideal for such a work as this, and his wonderful capacity to evoke the finest orchestral sound still comes over in all (or anyway most) of its glory after all these years when he had at his command what was then the world's finest orchestra. I have just acquired Boehm's 1966 Tristan from Bayreuth, and I can only say that you hardly have to reach the third bar before you appreciate the difference between even so fine a conductor as Boehm and the transcendent greatness of Furtwaengler. The refinement, and at the same time the strength, of his orchestral palette - this surely must have been the stuff of Wagner's own dreams. The yearning that Furtwaengler expresses in the famous Prelude has no equal that I can recall, and it is not just a matter of the slowish tempo. This tempo is in any case only on the slow side of average, and it would be altogether misleading to characterise the tempi taken throughout the work as a whole as being slow. You do not have to get far into Act II to appreciate that.
The cast is strong in every way, but perhaps strongest in a very surprising way. I wonder who thought of Suthaus for the part of Tristan? On stage he was reliably reported to resemble Jeeves, but he is not alone among great singers in not being much of a stage-actor if Fischer-Dieskau's Orestes in Elektra is anything to judge by. The difference is that everyone knows how great a singer the latter is, while Suthaus might never have had the praise he deserved but for his performance here. This is my idea of Tristan, partnered by my idea of Isolde from Flagstad, and they are my idea of the embodiment of these roles for an unexpected reason. It is not just a matter of the quality of their tone and technique, nor of their grasp of Wagnerian style. It is that they sound youthful. Still ringing in my ears is the great partnership of Windgassen and Nilsson on the Boehm set, and the contrast is clear to me. I have not researched the ages of the four artists when they recorded their performances, but Flagstad for one was certainly no spring chicken, yet she comes across as younger than the established-sounding Nilsson. For me, Tristan and Isolde were youngsters. In fact, the whole cast except for Marke and possibly also Brangaene were young in my own concept, and young is how they sound here. Fischer-Dieskau as the dotingly loyal Kurwenal was young as well as sounding it, if Tristan and Kurwenal were young then Melot would have been young too, and even the shepherd sounds youthful here. Ironically, it is precisely in the roles of Marke and Brangaene that the Boehm set surpasses this one. Greindl does very well as Marke, but he is outclassed by Talvela. Blanche Thebom is fine too, but she is no Christa Ludwig. However, all this is a matter of evaluating the cast individually. There is another respect that is almost as important, and it is how well the voices are contrasted, and here the Furtwaengler set wins hands down. Shaw was forever lecturing us on Wagner's (and Mozart's) brilliant talent for differentiating the music of different personae, and this set bears him out. Even Blanche Thebom's odd German enunciation manages to help in this respect.
In all Wagner's music dramas as opposed to his operas, that is to say in the Ring, in Tristan, in the Mastersingers and in Parsifal, there is a deep message which we have to try as best we can to receive and interpret. It is also the job of the director to suggest Wagner's question, and possibly even an answer to it, and this is not easy in sound alone. On the other hand Tristan & Isolde shares this one characteristic for me with Pelleas & Melisande, that I prefer both in atmospheric sound without stage action. Better than Boehm, better then anyone I can ever recall, Furtwaengler seems to have this magic art. Is Wagner trying to justify betrayal in the name of love? Where does `free will', so crucial to Catholic and other kinds of Christian moral theory, fit in? Is death the inevitable outcome of destructive passion? The key utterances seem to leap out of the speakers in this performance - Marke at first reproves Tristan when he thinks that the betrayal was of Tristan's free choice, but later he forgives Tristan when he learns of the love-potion. Does Melot also forgive him? Tristan accused Melot of jealousy, but he would say that wouldn't he? Melot may have been as blindly loyal to Marke as Kurwenal was to Tristan, and Melot's last dying word is the name `Tristan'. Was the love-potion some manifestation of destiny, as Tristan asks himself. Ich weiss' nicht was soll es bedeuten, but this is the peformance that seems to me more than any other that I know to reach the dark innermost soul of this great work.
Description of Wagner: Tristan und IsoldeIt's not surprising that this sublime performance of Wagner's Tristan und Isolde has remained on the market for so long: Wilhelm Furtw?ngler's reading of the tale with Ludwig Suthaus, Dietrich Fischer-Dieskau, and Kirsten Flagstad is probably definitive. The conductor is peerless at achieving a strong sense of direction throughout the epic length. Carlos Kleiber's controversial version with the Dresden State Orchestra might boast orchestral fireworks (abetted by modern recording technology), but if you're looking for a Tristan in which the singing takes center stage, this is the recording to buy. Newly remastered with Abbey Road Technology as part of EMI's Great Recordings of the Century series. --Joshua Cody
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