Tristan und Isolde: Stockholm Opera, 19 November 2004
Derrick Everett
Bayreuth Festival, once dedicated to the exemplary performance of those
stage works, appears to be pursuing a disastrous policy of inviting to
produce them individuals who have never directed an opera or even, in some
cases, a stage play; with results ranging from the ludicrous to the
offensive. As Bayreuth sinks deeper into foulness and ordure, in many
European opera-houses it seems that anything now goes, where Wagner's
works are concerned; so that we see Lohengrin dressed up as a schoolboy,
the Woodbird on a bicycle and Kundry in a wheelbarrow.
It is a relief, therefore, to get away from this idiocy and incompetence
to one of those opera houses that still take Wagner seriously, to the
extent of studying his words and music (gasp) before performing any of his
works for the public. The Stockholm Opera, which until recently was the
Royal Opera, which it had been since it was established by Gustav III (one
wonders what became of him?), has a long and distinguished Wagnerian
tradition. In particular 'Parsifal' has been a fixture of the Stockholm
opera season, performed before Easter in almost every season since 1914
and so popular that, in many seasons, performances were also given in the
autumn. There is also a long and distinguished Stockholm tradition of
performing 'Tristan und Isolde', which was given from 1909 to 1953 in
Swedish translation, and since 1954 in the original German.
This tradition has involved names -- and voices -- such as those of
Jacques Urlus, Set Svanholm, Helge Brilioth, Ivar Andrésen, Nanny
Larsén-Todsen, Frida Leider, Sigurd Björling, Kerstin Thorborg, Irma
Björck, Blanche Thebom, Kerstin Meyer and of course Birgit Nilsson. Also
a singer who is less often associated with Wagner but who sang the young
sailor in four performances during the early 1930s: Jussi Björling. On
the one occasion on which Kirsten Flagstad was to sing Isolde at the
Stockholm Royal Opera, in 1938, the Tristan was sick and no replacement
was available -- Svanholm had not yet learnt the role -- so 'Tannhäuser'
was performed instead.
On Friday 19th November 2004 this tradition continued with the last
performance in the current season of 'Tristan und Isolde'. The Stockholm
Opera is fortunate enough to have available not one but two first-rate
Isoldes, who alternated in the rôle for the twelve performances this
season: Nina Stemme, who is scheduled to sing Isolde in the new production
at the Bayreuth Festival 2005, and Annalena Persson, who sang on Friday. I
last heard her as Sieglinde in the Gothenburg Opera's semi-staged
'Valkyrie' (a very enjoyable production, with its punk Valkyries; catch it
if you can when it returns this season!); that had not entirely prepared
me for Persson's Isolde. She played Isolde as a colleen with attitude, a
teenager betrayed and bent on revenge and self-destruction; in long red
tresses and with a big strong voice. Persson rather overshadowed her
Tristan, portrayed by Richard Decker. His performance was more than
adequate, although by no means ideal; it might be characterised as milk
and water, compared to Persson's meat and potatoes. The usual cuts were
taken, among them a big chunk of the act III delirium.
The most impressive aspect of this production was the Personenregie. It
was clear that these actor-singers, under the direction of the experienced
Wagner-producer Hans-Peter Lehmann, really had studied not only the music
but also the words, and that they had been encouraged to build their
characters from within. Thus, in King Mark's outburst at the end of act
II, we did not get the usual stand-and-deliver; here Lennart Forsén (who
has also performed in rôles such as Landgrave Hermann, Daland and
Sarastro) really acted out the King's grief and despair at the betrayal of
his favourite nephew, beloved champion and intended heir. The interaction
of Brangäne, sung and acted by Cornelia Helfricht, with Isolde in act I
was unusually strong, clearly showing the affection of her former nurse
for the headstrong princess, which leads the former to make the critical
substitution (here seen being made centre stage, behind Isolde's back) of
the love-potion for the death-potion. After drinking the potion, Isolde
ran into Tristan's arms, expecting, of course, to die; then they pulled
themselves apart and stood still, as they realized that they were not dead
but alive; and then together again for "Tristan! Isolde! Treuloser Holder!
Seligste Frau!"
Lehmann, who worked in Bayreuth as an assistant to both Wieland and
Wolfgang Wagner during the 1960s, was interviewed for the program booklet.
"Wagner's 'Tristan und Isolde'", he said, "is a score of feelings. What
does Isolde feel? What does Tristan feel? This is what I want to tell.
It is their feelings that must be staged." His advice to the singers at
the first rehearsal was, "Dig deep into the text; all the answers lie
there". We should cherish such producers.
The characterization was also strong in other rõles. I particularly
liked the jocular Kurwenal of Gunnar Lundberg, with the little dance he
performed after seeing-off Brangäne in act I; repeated when he sings of
"der Held Tristan" in the last act. Even Melot (Magnus Kyhle) came across
as a character and not just as a symbol of envy and malice. There was a
convincing young sailor portrayed by Ulrik Qvale (who can be heard as the
Captain on the Swedish Opera recording of 'Wozzeck'), who also took the
role of the Shepherd. John Erik Eleby was the Helmsman.
In stark contrast to the monochrome production of T&I in Gothenburg, this
was a colourful staging. Not least in the costumes. Although there was
none of the obsession with costume changes that now prevails in Bayreuth,
where Kundry must have at least thirty of them; I felt a little sorry for
Brangäne, who seemed to be in the same green dress all evening. On her
first appearance, from under a blanket in the middle of the ship (yes,
there was actually - gasp - a ship, in this production!), Isolde appeared
in a fiery dress of red (like her long hair) and orange. Tristan and
Kurwenal were in dark leather outfits, Marke and Melot in armour, the
soldiers in shiny breastplates. The staging and costumes were designed by
Olaf Zombeck. His skeletal ship looked good, in the first act, but proved
to be a little too shaky when Kurwenal began to dance on it. During the
second act it returned reshaped, perhaps as a representation of Mark's
castle, first as a wall and then as a roof. In the third act, fragments
of the ship, now destroyed, stood in the centre of the stage, casting
strange shadows and providing look-outs first for the shepherd and then
for Kurwenal.
The most impressive feature of the second act staging was a curtain of
thin glass or perhaps perspex rods which curved across the entire stage.
At first it was static, then as Isolde went to greet Tristan, still
offstage, she stroked the curtain so that it shimmered, like an aurora,
for several minutes. During the long duet, the watchful Brangäne moved
back and forth behind this curtain. I was a little disappointed that we
did not see the lamp and therefore neither did we see Isolde extinguish
it.
The staging was minimalist -- almost New Bayreuth in style -- until the
ending, which appeared to take place, not on the top of a cliff but on a
beach, between the wreckage of the ship that had brought Isolde to
Cornwall's green strand in the first act; Isolde's semi-representational
boat actually arrived on the beach, coming up on the stage lift! There
was a pitched battle at the arrival of Mark's soldiers, with dramatic and
violent lighting effects. Most of the scenery consisted of large flat and
curved surfaces, or simply of a cyclorama behind the action. The lighting
design by Linus Fellbom made full use of these large surfaces, with slow
changes of lighting state -- except for the arrival of the "daylight
phantoms" in act II, where a brutal change to harsh white light is
obligatory -- often between strong colours, especially dramatic in the
third act: when Tristan sang of the "Schein der alten Sonne" the sky,
flecked with small clouds, was orange, changing to blood-red for his
delirium, and then to blues and greens. During the second act duet we
apeared to be in a forest, with dappled lighting patterns.
The Stockholm Court Orchestra, which has played for the Opera since the
time of Gustav III but whose history goes back to the 16th century. They
acquited themselves well again on this occasion, apart from a few
intonation problems in the lower strings and one unfortunate wrong entry
in an exposed brass part. The cor anglais solos were delightfully played
by Backa Katarina Eriksson. Although perhaps one should not admit
enjoying this drama of darkness and light, I thoroughly enjoyed the
evening.
--
Derrick Everett (deverett at c2i.net)
====== Writing from 59°54'N 10°36'E ======
http://home.c2i.net/monsalvat/index.htm
http://home.c2i.net/monsalvat/wagnerfaq.htm
Derrick Everett
>
> The Stockholm Court Orchestra, which has played for the Opera since the
> time of Gustav III but whose history goes back to the 16th century. They
> acquited themselves well again on this occasion, apart from a few
> intonation problems in the lower strings and one unfortunate wrong entry
> in an exposed brass part. The cor anglais solos were delightfully played
> by Backa Katarina Eriksson. Although perhaps one should not admit
> enjoying this drama of darkness and light, I thoroughly enjoyed the
> evening.
By a strange oversight, I neglected to mention that the performance was
conducted by Gregor Bühl, who seemed to be fully in control and in
command of the score. Although, most of the time, my attention was
directed at the stage (this is not always the case in other productions),
seated in a loggia box almost above the pit I did occasionally watch Bühl
conducting; in part to check that he was not looking too encouragingly at
the brass. He wasn't.
Daniel
Scooter if you are thinking of the recent ENO production!
> Although perhaps one should not admit
> enjoying this drama of darkness and light, I thoroughly enjoyed the
> evening.
Sounds excellent, thanks for the review. You seem to have a penchant
for Scandinaviean Wagner productions, and they seem to be very good
from your reviews.
Daniel
Mike Scott Rohan
from djenk...@valoris.com (Daniel) contains these words:
Look at his map reference. He lives there, lucky beggar. And yes indeed,
many thanks, Derrick.
But there does seem to be something a bit special about Wagner in
Scandinavia -- maybe it's because they're all raised on the myths, and
don't regard them as either fascistic or incomprehensible. After all
Wagner's version of the Siegfried tale and the history of the gods is
much closer to the Scandinavian than the German versions, broadly
speaking. I get a frisson from seeing Danish and Norwegian stagings of
Gotterdammerung billed as "Ragnarok". Also, the Scands produce some
marvellously clear, strong voices, so that even if they're not top-class
they still sound pretty good in this kind of heroic music -- and when
they do get good, like Stemme, they're stunning.
Cheers,
Mike
Nick
"Mike Scott Rohan" <mike.sco...@asgard.zetnet.co.uk> skrev i
meddelandet news:200411251...@asgard.zetnet.co.uk...
> The message <774413f2.04112...@posting.google.com>
> from djenk...@valoris.com (Daniel) contains these words:
>
> many thanks, Derrick.
>
> But there does seem to be something a bit special about Wagner in
> Scandinavia -- maybe it's because they're all raised on the myths, and
> don't regard them as either fascistic or incomprehensible. After all
> Wagner's version of the Siegfried tale and the history of the gods is
> much closer to the Scandinavian than the German versions, broadly
> speaking. I get a frisson from seeing Danish and Norwegian stagings of
> Gotterdammerung billed as "Ragnarok". Also, the Scands produce some
> marvellously clear, strong voices, so that even if they're not top-class
> they still sound pretty good in this kind of heroic music -- and when
> they do get good, like Stemme, they're stunning.
>
> Cheers,
>
> Mike
>
and that was nothing but stunning. I also attended the same performance as
did Derrik and i fully agree with his rewiew but I wish you all had been
there to hear Stemme! She is the closest to young Flagstad I have heard. I'm
not realy eager for Domingos Tristan on record but I cant wait to have her
Isolde when ever I want to hear it!
/Niklas
Hans Christian Hoff
"Nick" <niklas.e...@telia.com> wrote in message
news:ByOpd.9599$d5.8...@newsb.telia.net...
> I also attended the same performance as did Derrik and i fully agree with
> his rewiew but I wish you all had been there to hear Stemme! She is the
> closest to young Flagstad I have heard.
When did you ever hear young Flagstad ?- She was born 1895, and was forty
when she made her Met debut. AFIK, she did not make any recordings of any
Wagner work until 1937; prior to her engagement at the Stora Teatern (Big
Theatre) in Gothenburg, Sweden (1928-34) she was known as a fine and
reliable, but not sensational, soubrette.
Regards
Hans
Mike Scott Rohan
from "Nick" <niklas.e...@telia.com> contains these words:
{snip}
> I did see and HEAR Nina Stemme in the same Tristan production last spring
> and that was nothing but stunning. I also attended the same performance as
> did Derrik and i fully agree with his rewiew but I wish you all had been
> there to hear Stemme! She is the closest to young Flagstad I have
> heard. I'm
> not realy eager for Domingos Tristan on record but I cant wait to have her
> Isolde when ever I want to hear it!
She's something, certainly; I've seen her as Senta, Isolde (at
Glyndebourne), and Sieglinde -- all stunning. But I wouldn't say she has
the kind of sheer power Flagstad could let loose -- few do, and fewer
still can act as well as Stemme.
Cheers,
Mike
Derrick Everett
Yes, that was before she studied the rôle of Isolde in 1932 for a
production at the National Theatre in Oslo. Alexander Kipnis was King
Mark. The earliest Wagner items recorded by Flagstad that are known to me
are from 1935 (not 1937), including Isolde's Transfiguration (Liebestod),
recorded in New York with Hans Lange conducting a studio orchestra. Before
Isolde, I believe that her only Wagner rôles were Elsa and Eva; her
Elisabeth in Gothenburg was in her last season there, I think.
I do not hear much resemblence in voice or technique between Kirsten
Flagstad and Nina Stemme, although the quality of both singers is
undisputable, of course! The singer who, in my experience, sounded most
like Flagstad was Jessye Norman.
Olaf
wrote:
Snipped--->. The Stockholm Opera, snipped
>
>On Friday 19th November 2004 this tradition continued with the last
>performance in the current season of 'Tristan und Isolde'. The Stockholm
>Opera is fortunate enough to have available not one but two first-rate
>Isoldes, who alternated in the rôle for the twelve performances this
>season: Nina Stemme, who is scheduled to sing Isolde in the new production
>at the Bayreuth Festival 2005, and Annalena Persson, who sang on Friday. I
>last heard her as Sieglinde in the Gothenburg Opera's semi-staged
>'Valkyrie' (a very enjoyable production, with its punk Valkyries; catch it
>if you can when it returns this season!); that had not entirely prepared
>me for Persson's Isolde. She played Isolde as a colleen with attitude, a
>teenager betrayed and bent on revenge and self-destruction; in long red
>tresses and with a big strong voice. Persson rather overshadowed her
>Tristan, portrayed by Richard Decker. His performance was more than
>adequate, although by no means ideal; it might be characterised as milk
>and water, compared to Persson's meat and potatoes. The usual cuts were
>taken, among them a big chunk of the act III delirium.
>
I was also at this performance on 19 November (and had seen Nina
Stemme earlier in this production). There was the standard cut in act
2 beginning with "Dem Tage! Dem Tage! " - but Act 3 was performed
without any cuts. I was raher more impressed by Richard Decker than
you as described above, and he just did not seem to tire in act 3.
(The first night in March this year of this production was broadcast,
with Stemme and with Segerstam conducting.)
By the way, Annalena Persson has just got a homepage.
http://www.annalenapersson.se/
(I am not involved in it.)
Olaf
olaf.stock...@telia.com
Remove NOSPAM when answering
Derrick Everett
Decker certainly has both technique and stamina. You are probably right
about the uncut Act 3. I had the impression that the lines beginning, "Der
Trank! Der Trank! der furchtbare Trank! Wie vom Herz zum Hirn er wütend
mir drang!" were omitted, although I cannot be certain.
Joel Kaplan
Voigt's first foray into the role of Isolde in a live recording of
Wagner's "Tristan und Isolde" from the Vienna State Opera, with Thomas
Moser as Tristan, conducted by Christian Thielemann? I am tempted to
purchase this but I wanted to hear from the group first.
Alternatives?
Derrick Everett <deve...@c2i.net> wrote in message news:<pan.2004.11.28....@c2i.net>...
Mike Scott Rohan
from jim...@yahoo.com (Joel Kaplan) contains these words:
> Have any of you heard this year's release of Deutsche Grammophon
> Voigt's first foray into the role of Isolde in a live recording of
> Wagner's "Tristan und Isolde" from the Vienna State Opera, with Thomas
> Moser as Tristan, conducted by Christian Thielemann? I am tempted to
> purchase this but I wanted to hear from the group first.
> Alternatives?
I have only heard this the once, and not all the way through, but if
it's Tristan itself you're after, I wouldn't; it's not bad -- though it
depends how much you like Thielmann's conducting -- but rather
run-of-the-mill compared to the best of the competition. What's more,
there's another new Tristan due with Domingo, which might be worth
looking into.
You single out Voigt, however, which suggests that it's her performance
that attracts you most; personally I don't think she's caught at her
best here, and I feel she's rather light for the role anyhow. But if
you're sure you'll like her, then it might be worth the venture; the
other performers are mixed -- Moser a decent but unspectacular Tristan,
Petra Lang a great Brangaene, Weber an ok Kurwenal, but Robert Holl a
dim King Marke, and of course there's Thielmann, whom others both like
and dislike more than I do. The live recording is pretty good.
That said, I'm a bit of an outsider when it comes to Tristan. I'm not
exactly sold on the Furtwangler version which everyone else seems to
praise; the conducting's fine, but Flagstad to me sounds grandmotherly.
I prefer the incredibly unfashionable Karajan version with Dernesch a
full-voiced but young and ardent Isolde (too young, it wrecked her upper
register) and Vickers' searing Tristan; the rest of the cast is good,
and the recording is a bit peculiar -- I believe he meant it to be a
film soundtrack -- but bearable. And I also like Carlos Kleiber's
eccentric studio version, with Margaret Price the Isolde she could never
be on stage, and his amazing conducting. Bohm's Bayreuth set is no
longer the recommendation it once was, despite Nilsson, but still worth
a listen; and among modern sets, Barenboim, with Jerusalem and Waltraud
Meier, is worth a listen. But that's just how I hear things, and others
will differ.
Cheers,
Mike
Ralph
"Joel Kaplan" <jim...@yahoo.com> wrote in message
news:59ccabdc.04113...@posting.google.com...
> Have any of you heard this year's release of Deutsche Grammophon
> Voigt's first foray into the role of Isolde in a live recording of
> Wagner's "Tristan und Isolde" from the Vienna State Opera, with Thomas
> Moser as Tristan, conducted by Christian Thielemann? I am tempted to
> purchase this but I wanted to hear from the group first.
> Alternatives?
>
studio sets, and the Bohm live Bayreuth set. Personally I find the Bohm to
be an exciting set, the faster speeds thrilling, with fine singing. Because
it is in modern stereo, unlike the Furtwangler, I'd have to give it a slight
edge and make it the top recommendation. But opinions vary on this.
Too bad the record labels, unlike book publishers, don't give free
recordings to public libraries, where folks can listen and judge for
themselves. It might of helped the recording industry too in the long run.
Ralph
Richard Loeb
this work than either Solti or Bohm as exciting as they are. Bohm is
certainly acomplished but like his Ring from the same period, I find a lot
of the tempi just too fast.The motives just don't have to a chance to
register with me before hurrying on to the next one. I actually prefer
Solti's conducting to Bohms but the flyweight Tristan is one of Decca's more
interesting casting puzzlements. (I just cannot forget Osborne's remark that
Uhl was a perfectly respectable singer but casting him in this role made as
much sense as casting Tito Schipa as Radames or Bidu Sayao as Turandot.)
However if one doesn't mind Bohm, his version is the most strongly cast of
the three.
I certainly understand the reservations about Flagstad and I prefer her in
the late 30s or early 40s but she is so right in so many of the important
pages of this score (e.g.Mir erkoren..or Er sah mir in die Augen) her
classic legato, deep meaning and experience in the role. really add up for
me in the long run. Suthaus just gets by.
Best Richard
"Ralph" <NoSp...@semq.com> wrote in message
news:Kmprd.269$714...@newsread2.news.atl.earthlink.net...
Mike Scott Rohan
from "Ralph" <NoSp...@semq.com> contains these words:
Don't know where you're based, but in the UK the larger public libraries
do stock such things as CDs and DVDs -- sometimes to the exclusion of
books. The Cambridge Central Library looks more like a branch of
Blockbuster these days. However, they don't get discs or books free,
just somewhat discounted. In the USA many college libraries have CD
libraries, especially those with a good music faculty.
And in the UK there are private subscription libraries, run as an
enthusiast's business; I don't know whether they deal abroad, but they
advertise in Gramophone.
Cheers,
Mike
Olaf
>
>"Joel Kaplan" <jim...@yahoo.com> wrote in message
>news:59ccabdc.04113...@posting.google.com...
>> Have any of you heard this year's release of Deutsche Grammophon
>> Voigt's first foray into the role of Isolde in a live recording of
>> Wagner's "Tristan und Isolde" from the Vienna State Opera, with Thomas
>> Moser as Tristan, conducted by Christian Thielemann? I am tempted to
>> purchase this but I wanted to hear from the group first.
>> Alternatives?
>>
>Usually the top three mentioned on this are the Furtwangler and Karajan
>studio sets, and the Bohm live Bayreuth set. Personally I find the Bohm to
>be an exciting set, the faster speeds thrilling, with fine singing. Because
>it is in modern stereo, unlike the Furtwangler, I'd have to give it a slight
>edge and make it the top recommendation. But opinions vary on this.
>
>Ralph
>
Is the Bernstein version completely forgotten, or too awful to even
mention?
Richard Loeb
being slow with no underlying movement at all and relatively poor casting. I
would like to give it another listen after all this time Richard
"Olaf" <olaf.stock...@telia.com> wrote in message
news:adgsq09t4sc8donq6...@4ax.com...
Ralph
> > Too bad the record labels, unlike book publishers, don't give free
> > recordings to public libraries, where folks can listen and judge for
> > themselves. It might of helped the recording industry too in the long
run.
>
> Don't know where you're based, but in the UK the larger public libraries
> do stock such things as CDs and DVDs -- sometimes to the exclusion of
> books. The Cambridge Central Library looks more like a branch of
> Blockbuster these days. However, they don't get discs or books free,
> just somewhat discounted. In the USA many college libraries have CD
> libraries, especially those with a good music faculty.
>
> And in the UK there are private subscription libraries, run as an
> enthusiast's business; I don't know whether they deal abroad, but they
> advertise in Gramophone.
>
> Cheers,
>
> Mike
>
Performing Arts library, I haven't seen any kind of music collection in the
public libraries that I have frequented. College libraries, are a different
matter, and I haven't been to them recently so I don't know what they have.
I think the term public libraries in my parts, excludes university
libraries, and the average man or woman who is not enrolled in a course,
does not have access to their material.
Ralph.
La Donna Mobile
news:200412011...@asgard.zetnet.co.uk...
> The message <59ccabdc.04113...@posting.google.com>
> from jim...@yahoo.com (Joel Kaplan) contains these words:
>
> > Have any of you heard this year's release of Deutsche Grammophon
> > Voigt's first foray into the role of Isolde in a live recording of
> > Wagner's "Tristan und Isolde" from the Vienna State Opera, with Thomas
> > Moser as Tristan, conducted by Christian Thielemann? I am tempted to
> > purchase this but I wanted to hear from the group first.
> > Alternatives?
>
> I have only heard this the once, and not all the way through, but if
> it's Tristan itself you're after, I wouldn't; it's not bad -- though it
> depends how much you like Thielmann's conducting -- but rather
> run-of-the-mill compared to the best of the competition. What's more,
> there's another new Tristan due with Domingo, which might be worth
> looking into.
>
Due to be released in August 2005, according to EMI
Joel Kaplan
the way to go BUT the poor quality of the recording drives me to
distraction. The Bohm sounds really fantastic because the tempi is
increased as as a general matter I do like that as, for example, the
Thomas Schippers Carmen. I'm even tempted by the Karajan suggestion.
I think the best course of action for me is to listen to a variety of
recordings before deciding which to purchase. I would like to all to
note that I live in the northern suburbs of Chicago, Illinois, in the
town of Wilmette. Public libraries here are those run by the cities
and villages, they are funded by public tax money and all residents
not only can check out material from their home town library but may
also use their library card at almost all the surrounding libraries
which are interconnected. These libraries here have very large
collections of CD recordings. The "Wilmette Public Library" for
example has many different recordings of almost all the Wagner (and
Verdi, Puccini, etc. etc. etc) as well as all the complete scores,
videos and DVDs. It is really an incredibly wonderful resource. Of
course it is illegal to take the CD out of the library and, for
example, copy it to ones Ipod. SO, lucky for me, I'll be able to take
out various recordings of Tristan (just as I have of the Ring and
ultimately went out and purchased the Solti set ((although I love the
Bohm Walkerie)) and make a decision. Of course this now completely
wipes out my contemplation to purchase the Voigt but that is perfectly
fine. I am so happy to receive all your comments. As some of you
know, I'm new to all of this (this is the only blog I've ever been a
party to) Wagner works and it is thrilling. HOWEVER, I must tell you,
I finally listened to the entire Twilight of the Gods and holy moly,
some parts of it were very difficult to get through. Sometimes I felt
it would never get to "a good part" or how was I going to sit through
this entire thing when the cycle begins in March. As a further aside
in this stream of consciousness, I still love and adore Act 2 of
Fidelio. John Vickers is just simply to much. Finally, silly has
this may seem, how the heck do you make a "snip" and get it to be in
green before you make your comment? Cheers.
JMK
"La Donna Mobile" <donna...@REMOVEbrixton.fsworld.co.uk> wrote in message news:<colkgk$nuq$1...@titan.btinternet.com>...
Richard Loeb
Joel Kaplan
Peter Schreier, tenors ; Walter Berry, Bernd Weikl, Martin Vantin,
baritones ; Karl Ridderbusch, bass ; Chor der Deutschen Oper Berlin ;
Berliner Philharmoniker ; Herbert von Karajan, conductor. THIS IS THE
RECORDING I LISTENED TO TODAY, ACT 1 AND ALMOST ALL OF ACT 2. LADIES
AND GENTLEMEN, WHAT MORE DO I NEED. HOW BETTER CAN IT GET? I WOULD
LIKE TO TELL YOU, MAYBE YOU CAN ASSIST ME, BUT THERE ARE LONG PORTIONS
OF THESE WAGNER OPERAS THAT I FIND IT DIFFICULT TO GET THROUGH, THEY
DRAG ON AND ON BUT I LISTEN TO IT ANYWAY BECAUSE IT LAYS THE
FOUNDATION FOR SOME OF THE MOST GLORIOUSLY MOVING MUSIC I HAVE EVER
HEARD.
Note
Recorded Dec. 2, 1971-Jan. 10, 1972, Jesus Christus Kirche, Berlin.
"Ralph" <NoSp...@semq.com> wrote in message news:<Kmprd.269$714...@newsread2.news.atl.earthlink.net>...
Richard Loeb
currently listening to the Archipel mastering of the 52 Keilberth
Gotterdammerung - sound is wonderful. I do hope Archipel does something
about their 53 Krauss Rheingold - I thought the sound was very echo-y and
strange and gave up after the first side. I understand the other three
operas sound better. Maybe it was some kind of mistake Richard
"Herman van der Woude" <hvdwoude @ zonnet.nl> wrote in message
news:53f05$41b02203$3ea652e7$64...@news1.zonnet.nl...
> In news:_sednbh1pPx...@comcast.com, schreef
> Richard Loeb <loe...@comcast.net>:
> | The problem I have with the recording mainly is, I'm afraid to say,
> | Dernesch since I am a fan of hers.But it is hard for me to be
> | comfortable with an interpretation when the voice is stretched to its
> | limits so often. Even in parts where I thought she would excel e.g.
> | Mir erkoren... she doesn't seem to have the amplitude or
> | expansiveness needed. I believe this came after the Gotterdammerung
> | Brunnhildes which were a big mistake (as Osborne said when comparing
> | her to Nilsson"You may prefer a sleek compact to an armored tank but
> | not in the Battle of the Bulge".) The recording is quite strange
> | with different parts of the orchestra seemingly emphasized at
> | different times. Vickers is wonderful though I don't want to hear him
> | that often - its all so intense. Ludwig is better than in the Bohm
> | and I rather like Karajan. Richard
>
> My problem with the Karajan recording is Jon Vickers, especially his
> difficulties with pronunciation of the German language. Once you
> noticed, that his r's aren't rolling as German r's (he sings 'Fwau'
> rather than 'Frrau') it starts getting irritatating a bit. He does
> portray a very intense Tristan, though.
>
> There's one recording I personally regards as the very best: the Goodall
> studio recording of around 1981 with the Welsh National Opera. Yes, I
> admit, that the singers there also have sometimes difficulties with
> German, but strangely enough I hardly hear it as all are formidable in
> their roles. The whole recording is so intensely 'hot' (I can't find
> another word for it) and so full of tension, from the very first note
> till the very last note, that you just can't believe that it is only a
> studio recording. It is a pity that it is no longer available.
>
> Joel, you wouldn't have difficulties to get through long portions of
> this recording, although it is the longest (and slowest) recording made
> of it. But most certainly not boring, on the contrary. In this recording
> slow is the basis to build up even more tension!
>
> --
> Herman van der Woude
> hvdwoude @ zonnet.nl
> (spaties toegevoegd om SPAM te vermijden / spaces added to avoid SPAM)
>
>
>
Richard Loeb
since I am a fan of hers.But it is hard for me to be comfortable with an
interpretation when the voice is stretched to its limits so often. Even in
parts where I thought she would excel e.g. Mir erkoren... she doesn't seem
to have the amplitude or expansiveness needed. I believe this came after the
Gotterdammerung Brunnhildes which were a big mistake (as Osborne said when
comparing her to Nilsson"You may prefer a sleek compact to an armored tank
but not in the Battle of the Bulge".) The recording is quite strange with
different parts of the orchestra seemingly emphasized at different times.
Vickers is wonderful though I don't want to hear him that often - its all so
intense. Ludwig is better than in the Bohm and I rather like Karajan.
Richard
Joel Kaplan" <jim...@yahoo.com> wrote in message
news:59ccabdc.04120...@posting.google.com...
@zonnet.nl Herman van der Woude
| Dernesch since I am a fan of hers.But it is hard for me to be
| comfortable with an interpretation when the voice is stretched to its
| limits so often. Even in parts where I thought she would excel e.g.
| Mir erkoren... she doesn't seem to have the amplitude or
| expansiveness needed. I believe this came after the Gotterdammerung
| Brunnhildes which were a big mistake (as Osborne said when comparing
| her to Nilsson"You may prefer a sleek compact to an armored tank but
| not in the Battle of the Bulge".) The recording is quite strange
| with different parts of the orchestra seemingly emphasized at
| different times. Vickers is wonderful though I don't want to hear him
| that often - its all so intense. Ludwig is better than in the Bohm
| and I rather like Karajan. Richard
My problem with the Karajan recording is Jon Vickers, especially his
jim...@yahoo.com
I have the Furtwangler. It is fantastic!
jim...@yahoo.com
listened to a bit of Tristan and then las summer I went to the
FLorentine Opera to hear Tristan performed in Milwaukee. It was very
good. Yesterday I flew from chicagl to san diego and listened to the
furtwangler tristan. Today I flew from san diego to chicago and
listened to karajan. The conclusion that kept in my mind was that they
were both fantastic recordins with great singers but more importantly,
I came to the realization that Tristan is one amazing masterpiece from
beginning to end. There is simply nothing else to say. The scroe, the
voices, all of it. The furtwangler I think has an edge because the
soprano might be a bit more up the singer food chain. However, the
tenor in the karijan is fantastic. It is a great love, no matter what.
Next up is the Bohm. I like the idea of increased tempi but maybe not
for Tristan. I'll let you know. Right now i'm into my Mozart
concertos 9 and 18 played by Leif Ove Andsnes and the Norwegian Chamber
Orchestra. Hope all is well with all of you. This weekend I intend to
watch the DVD of TRistan and maybe even the 2nd tape of Meistersinger.
Cheers.
@zonnet.nl Herman van der Woude
jim...@yahoo.com <jim...@yahoo.com>:
This sounds like the busy life of a Wagner junk!
Mike Scott Rohan
from "Herman van der Woude" <hvdwoude @ zonnet.nl> contains these words:
A *music* junkie, rather, since he has the healthy instinct to leaven it
with the Mozart concerti. Never hurts to remember where Wagner came
from. Lightening the mix is good for you; Wagner consumed my listening
for a while, until I found the more other music I discovered, the more
truly I appreciated him as well. I was at the height of my studenty
Wagner-mania when I was hauled along to standing room at a touring Magic
Flute (in which an unknown young baritone called Thomas Allen was making
his debut!). By the interval I was high as a kite on the music, and came
out not only singing but with a very pretty Swiss girl who'd been
standing beside me -- something Wagner hadn't yet managed for me (though
he did the following year!).
Cheers,
Mike
@zonnet.nl Herman van der Woude
Mike Scott Rohan <mike.sco...@asgard.zetnet.co.uk>:
True, Mike, there's more on this earth than Wagner music alone, and one
cannot appreciate Wagner's music enough by listening only to his music.
There *is* so much more from Bach to Shostakovich, from Monteverdi to
Bartók and somewhere in the middle of this randomly drawed lines is
Wagner. I admit that I listen to as much music as often and as much as
possible, all music, but here are my favorites: Mozart, Beethoven,
Wagner, Shostakovich, Ravel (and there are more, and not strictly in
this order).
I once left a concert-hall in tears after having heard Shostakovich's
8th Symphony in which so well is illustrated how state oppression
physically feels. I can't help feeling deeply moved when hearing
Brangäne warning the two lovers in the love-duet (and this feeling you
get that time can stop for a while).
And yes, I am fond of the Magic Flute, a work with many layers, but you
must give yourself the time and effort to discover them.
Here's to all good music!
--
Herman van der Woude
hvdwoude @ zonnet.nl
jim...@yahoo.com
obtain tickets and travel arrangements. Anyone know when and where it
is next up? Thankx
Derrick Everett
Düsseldorf on 12 December
Geneva in February (with Armin Jordan conducting, of course)
Halle on 11 and 25 December, 30 January (René Kollo is the producer!)
Hanover on 26 December and 21 January
Lübeck on 26 December, 15 and 30 January
Naples on 12, 14 and 17 December (Richard Decker alternates with Tom
Moser as Tristan)
Norfolk, Virginia from 28 January, then touring to Fairfax and Richmond
Stuttgart on 25 and 28 March, 3 April (with Lisa Gasteen as Isolde)
Vienna on 9, 13 and 20 February (with Tom Moser and Deborah Polaski)
jim...@yahoo.com
heard of any of these people?
Tristan: THOMAS ROLF TRUHITTE
King Marke: CHARLES ROBERT AUSTIN
Isolde: MARJORIE ELINOR DIX
Kurwenal: NMON FORD
Melot: MICHAEL DAILEY
Brangäne: MARY ANN STEWART
Shepherd: DANNY MARKHAM
Steersman: JUAN DUNN
Voice of Young Sailor: LARRY GIDDENS
David Melnick
> This is the cast at Virginia Opera in Norfolk, Virginia. Have you ever
> heard of any of these people?
> Tristan: THOMAS ROLF TRUHITTE
There are mp3s from Walkuere at
http://www.thomasrolftruhitte.com/Sounds.html
but one cannot ignore
http://www.thomasrolftruhitte.com/IMAGE/DWEinSchwertT.jpg
nor
http://www.thomasrolftruhitte.com/IMAGE/WalkureCoverTitle.gif
not to mention
http://www.thomasrolftruhitte.com/IMAGE/DWTomwolvesT.jpg
La Donna Mobile
> On Fri, 10 Dec 2004 09:19:10 -0800, jimbral wrote:
>
> > Now i need to know where there will be a Tristan performed so I may
> > obtain tickets and travel arrangements. Anyone know when and where it
> > is next up? Thankx
>
> Düsseldorf on 12 December
>
> Geneva in February (with Armin Jordan conducting, of course)
>
> Halle on 11 and 25 December, 30 January (René Kollo is the producer!)
>
> Hanover on 26 December and 21 January
>
> Lübeck on 26 December, 15 and 30 January
>
> Naples on 12, 14 and 17 December (Richard Decker alternates with Tom
> Moser as Tristan)
>
> Norfolk, Virginia from 28 January, then touring to Fairfax and Richmond
>
> Stuttgart on 25 and 28 March, 3 April (with Lisa Gasteen as Isolde)
>
> Vienna on 9, 13 and 20 February (with Tom Moser and Deborah Polaski)
>
>
> --
opened - with Heppner and Eaglen. I was thinking of going until I heard
rumour that it will be on at Covent Garden in 2005-06.
jim...@yahoo.com
way, I'm reading this book entitled "Wagner without Fear" by William
Berger and it is just wonderful. I'm telling you, I was laughing out
loud while reading his preface as well as portions of the book. One
quote in particular I wanted to share with you from an elderlly lady
attending Tristan in Vienna when Berger was 17 years old: "You must
understand the nature of Tristan und Isolde. It is a drug. It can
open your eyes, ease your pain, even save your life. But if you keep
indulging in it, it will make you insane."
Derrick Everett
Covent Garden ROH is online at < http://online.royaloperahouse.org >
Opéra National de Paris are at < http://www.opera-de-paris.fr/ >
There is an incomplete and very much out-of-date collection of links to
opera houses and opera companies on my web site at:
< http://home.c2i.net/monsalvat/links.htm >
Incomplete mainly because I don't link to sites that are either ugly or
useless or both, and I try to link to sites that are attractive and
informative. Out-of-date because the WWW is volatile and I do not have
the time to update my opera links page very often. Usually I just use a
script to test the links and remove the dead ones.
Up-to-date information about opera productions always can be found at my
favourite site on the WWW, the amazing Operabase, at:
Using their search tool to find performances of 'Tristan und Isolde'
during the next few months took me about 5 seconds!
La Donna Mobile
news:1102800957....@f14g2000cwb.googlegroups.com...
The Opera National de Paris's Tristan is
http://www.opera-de-paris.fr/?Rub=Fiche&Genre=Operas&Id=702 - I got the
cast slightly wrong.
In general, http://www.operabase.com/ is very useful for finding upcoming
performances.
I only know Covent Garden as a rumour. I dare say there are proper people
who actually know what's going on, but I'm just a hobbyist who has to rely
on the media and th'internet for my info.
If it does indeed come to pass, they announce the new season in late March,
roughly. Then in time the website will update with when online booking
opens.
Olaf
the Internet last Monday - but they apparently sold out at once.
On Sun, 12 Dec 2004 12:13:26 GMT, Derrick Everett <deve...@c2i.net>
wrote:
Olaf
MAD4OPERA
This guy is a recipient of a Grant from the Wagner Society of Northern
California and I think the D.C. Society as well. Virginia has done several
Wagner operas featuring Truhitte. I like his voice, he's a very attractive man
with an incredible physique.
I think Virginia Opera did a Walküre with Truhitte as the Siegmund (shirtless)
opposite Jennine Altmeyer's Sieglinde & perhaps a Lohengrin as well.
jim...@yahoo.com
jim...@yahoo.com
Virginia? not exactly New York, London or Paris but I think a
performance is the key although, on the other hand, it just seems that
one needs GREAT voices (and a GREAT orchestra).