Wagner's operas
Posted by: EJS on 30 December 2012
Hi all, with the bicentennial of Wagner's birth in 2013, thought it'd be fun to share with you some personal reviews and notes of his operas, which I've gathered over the years. Although I listened to and own many recordings, this is not a complete survey. One opera at a time - and we start with a lengthy one:
Part 1: Tristan und Isolde
Tristan, Wagner's most ambitious and influential opera, is the essence of Schopenhauer set to drama and music. Wagner had become familiar with the work of Schopenhaur and his idea of the world driven by unachievable desires in the mid 1850s, and subsequently started work on an opera devoted entirely to this idea. While working on it, he became involved with Mathilde von Wesendonck, the wife of his then-sponsor (when Wagner's wife found out, this led to one his several exiles). He set five of Mathilde's poems to music, the Wesendonck Lieder, two of which were studies for Tristan and include themes that made it into the Act II love duet and the Act III prelude of the opera. The lead parts of the opera, Tristan (tenor) and Isolde (soprano) are generally regarded to be among the heaviest operatic roles ever written, and have been difficult to cast since the premiere in 1865.
The most famous recording is the 1952 FurtwÄngler - an ambitious and conscious undertaking by Walter Legge to preserve a famous partnership, Ludwig Suthaus, Kirsten Flagstad and Wilhelm Furtwangler. Furt and Legge didn't like one another but set their differences aside. Famously, Legge's wife, Elisabeth Schwarzkopf, dubbed in Isolde's high Cs. It's an unmissable recording, but I have to say despite the very capable voices, they do sound a bit long in the tooth.
In 1966, Philips recorded the Tristan live, but one act at a time, under BÖhm, with Birgit Nilsson and Wolfgang Windgassen. BÖhm is fast in an opera that is supposed to be slow, the singers do a great job although Windgassen sounds overparted at times. It's many people's favorite but for me, it misses the essence.
There are a number of highly regarded live performances under Karajan, but his first and only studio recording for EMI happened in 1972, with Jon Vickers and Helga Dernesch. Sadly not one of Von K.'s most inspired performances, but his singers are hugely impressive and despite Vickers' dodgy German pronunciation, sound idiomatic.
Early 1980s, Carlos Kleiber and Lenny Bernstein committed their readings to disc. Both are controversial. Kleiber was never happy in the studio and apparently became so distressed with René Kollo's Tristan, he ran out before the sessions were complete and never returned to the studio. DG managed to complete the recording from practice takes. The result is quite special, with a Mozartean touch and sensitive singers - but for this reason, very studio bound.
Bernstein did it live, but like BÖhm, one act at a time to give the singers rest between acts. It's the slowest performance ever recorded - the original CD issue consisted of 5 discs. Hildegard Behrens and Peter Hofmann are committed and have nice voices, but a bit small for the parts. All in all, my personal favorite - it's SLOW but intense, and one of Bernstein's supreme achievements.
In 2004, DG released another live performance, under Thielemann. He is good, but his singers aren't memorable. Thomas Moser gives it his best shot, drowns in Act II but is surprisingly good in Act III. Deborah Voigt has a big voice but doesn't really impress at any time.
EMI followed in 2005 with the - for now - most recent studio recording, under Tony Pappano, with Placido Domingo and Nina Stemme. Stemme sounds very good and gives a credible interpretation (she does miss some of the irony in the role, a small thing compared to what is there). Domingo is a big surprise, despite the fact that he was in his 60s at the time of the recording, he sounds very good and up to the task (helped by the engineers, but still). He doesn't sound authentically Wagner, and he is careful - but the performance is quite the achievement. Pappano conducts assuredly, fastish but not hurried.
All in all, many of the recordings have merit and none is ideal. FurtwÄngler and Karajan are generally safe recommendations, as is Pappano if you like Domingo, but I love the Bernstein for its focus. Just the beautifully sustained overture, clocking in at almost 15 minutes, is a work of art.
Comments welcome!
Cheers,
EJ
Well, Esa-Pekka Salonen/CSO's Tristan und Isolde was Just gorgeous. The Act I Prelude did not have the tension of Bernstein between the pauses but lush and extremely textural rendition as well as expressive dynamics had me transfixed to the performance.
It was like a highly detailed version of Stokowski style of direction.
The massed strings were tad dry at times, but having to experience the real scale Wagner tunes were tremendous. So far no recorded media even come close!
This was a limited program where they only played Act I Prelude and the entire Act II.
I wasn't particularly thrilled with the two principal singers ( Linda Watson & Stefan Vinke ). Isolde reminded me of Divine and I think she was just too old ( and fat ) :/ to play this role. Her voice at times were forced and hardened lacking lucidity and waif like quality of Isolde. Vinke's voice was equally dry and flat missing much of large scale resonant voice I was hoping. When the bass singer entered, it was a relief.
Energetic mezzo soprano Michelle deYoung ( as Brängane ) was lovely however. ( Now that was a nice female singing! )
Part 2: Der Ring des Nibelungen
Wagner's Der Ring des Nibelungen is a cycle of four operas: a long overture (Das Rheingold) and three 'days' (Die Walküre, Siegfried and Götterdämmerung). The Ring cycle is known for Wagner's extensive use of 'Leitmotiv', recurring musical themes that depict or recall a situation, character or object. One of the few Leitmotivs that occurs in all the operas unchanged is the one associated with Alberich's death curse on the rhine gold, first heard in Rheingold's last scene. To perform the works, Wagner built his own opera house in Bayreuth. Although rebuilt after the war, it continues to set the standard for Wagner singing to this day.
The story spanning the four operas is based on two texts: the German medieval 'Nibelungenlied' and the Nordic 'Völsunga' saga. From their common source, Rheingold shares story elements with Tolkien's Hobbit and Lord of the Rings but as always with Wagner, his focus is not on plot or action but on the behaviour and motivations of the large cast of characters.
Das Rheingold was the last opera of the four to be conceived and written, but the first to be scored. The pace is high, for Wagner, as there is a lot of stage to set for the following operas. In Rheingold, Wotan builds Walhalla with the help of two giants in exchange for one of his daughters. Not willing to honor his side of the bargain, Wotan asks the Giants to take something else instead and they choose to be covered in gold. This gold includes two special items; one is a cursed ring that gives its owner power at the cost of giving up love. Immediately, one giant slays the other, turns himself into a dragon and starts guarding his treasure. Rheingold is Wagner's most tune packed opera, and it's a great place to start exploring his operas.
I own recordings of Das Rheingold under Keilberth, Solti, Karajan, Levine (2x), Haitink and Dohnanyi (in order of appearance), and have listened to / no longer own Furtwängler (Rome), Barenboim, Böhm, Janowski, Sawallisch, Haenchen and Thielemann. Not sure whether we get around to all of these – first up:
Haitink (1990, München, studio)
Late 80s, early 90s, EMI and DG simultaneously commenced on what, to date, were to be the last complete recordings of the Ring cycle. Both cycles benefited from the best Wotan at the time, and perhaps of all times: James Morris. Generally, he sings even better for Haitink than for Levine, and this alone makes Haitink worth hearing. But also in other respects, Haitink’s Ring is a tremendous achievement. Overall, Haitink chooses fastish speeds, in contrast to Levine.
In a bit of controversial casting, Haitink has Theo Adam (Wotan under Böhm) as a nasty Alberich. He is not as smooth as most other Alberichs, but his years of experience are made clear in every sentence. The remainder of Haitink’s cast is a true ensemble, singing at a very
accomplished level and no weak links. Haitink’s conducting is a highlight, he has great sense of line and knows where the opera is heading. Last but not least, the recording is a model of its kind: realistic, with a natural distance, with space around the singers. It lacks the visceral impact of DG’s recording for Levine, but it is much closer to what you’d hear in the Bavarian opera house.
Cheers,
EJ
Purchased this 16xLP box-set a few years ago and left it to gather dust on the shelf.
But after reading this thread, decided to wheel-barrow it over to my record cleaning machine.
These records are very thin, just under 110grams on my dodgy kitching scales!
All in mint condition from what i see, probably not been played before, the date 1973 on the label but i don't know if that's when the records were made or the recording?
The Libretto is all in German : (
Will give the Das Rheingold LP's a play on Saturday evening, with a bottle of Italian merlot,
that's as near to Germany my wine list gets : )
Debs
I am just listening to this very recording. It may not be perfect technically, quite a lot of background noise such as coughing, changing of note sheets etc. But I am non the less astounded at the quality of this almost 50 year old live recording. Maybe it is just because of its authenticity, why I find it thoroughly involving and very enjoyable.
The date of 1973 is the publication date as it seems. The recordings stem from 1966 (Das Rheingold, Siegfried, Götterdämmerung) and 1967 (Walküre).
Recommended from my side!
Purchased this 16xLP box-set a few years ago and left it to gather dust on the shelf.
But after reading this thread, decided to wheel-barrow it over to my record cleaning machine.
These records are very thin, just under 110grams on my dodgy kitching scales!
All in mint condition from what i see, probably not been played before, the date 1973 on the label but i don't know if that's when the records were made or the recording?
The Libretto is all in German : (
Will give the Das Rheingold LP's a play on Saturday evening, with a bottle of Italian merlot,
that's as near to Germany my wine list gets : )
Debs
I am just listening to this very recording. It may not be perfect technically, quite a lot of background noise such as coughing, changing of note sheets etc. But I am non the less astounded at the quality of this almost 50 year old live recording. Maybe it is just because of its authenticity, why I find it thoroughly involving and very enjoyable.
The date of 1973 is the publication date as it seems. The recordings stem from 1966 (Das Rheingold, Siegfried, Götterdämmerung) and 1967 (Walküre).
Recommended from my side!
This boxset was issued by Philips as part of its Bayreuther Festspiele memorial edition. Two other boxes, similar but in green, include Wagner's other mature operas. Quite the collector's item.
Cheers,
EJ
EJ,
She was rather a perfect casting in my mind. ( I haven't seen the film, however )
And I was more familiar with Beardsley's Isolde even before i realised who she was so a bovine Isolde was a bit of a disconnect.
EJ,
She was rather a perfect casting in my mind. ( I haven't seen the film, however )
And I was more familiar with Beardsley's Isolde even before i realised who she was so a bovine Isolde was a bit of a disconnect.
Ha! Ben Heppner and Deborah Voigt would have made mincemeat out of Franco and Myles, by just sitting on them. Vickers and Nilsson could even do it from a distance, with a well placed battle cry.
EJ
I have this box sat on top of one of the record shelves. I'm almost ashamed to say that in all its years it has never been played. Every now and then I gear myself up to do so, but usually just reach for one of the individual releases. 22LPs, which means 44 sides - somewhat daunting.
"I liked your opera. I think I will set it to music". Ludwig van Beethoven to a fellow composer
LOL! 
Vlad,
I am also still digging at the Tristan, too. I think this is a life long discovery. ( which is cool )
I sort of gave up on Böhm's version after got to hear Lenny's.
The entire Der Ring is daunting task to get through. So I am starting with small chunks again to familiarise with them. ( I need to learn how to listen to The Ride of the Valkyries in a straight face without start singing 'kill the wubbit' or thinking about Maxell Tape CM )
The story of Tristan is easier for me to *get* because it's basically an age old Romeo & Juliet theme and that the idea itself is universal so I can sympathise. The story line of the Der Ring, OTOH... a bit difficult to be emotional about it.
Its more like watching a Cecil B. DeMill spectacle.
Some said that 'an epic' is the easiest film to make a mess of. I'd reckon the same thing could be said for the Der Ring.
And yes. I need some breaks in between for Wagner.
This is another compilation album by Klemperer and Philharmonic.
A1 Das Rheingold: Entry of the Gods into Valhalla [8:04]
A2 Die Walküre: Ride of the Valkyries (Act 3) [2:50]
A3 Siegfried: Forest Murmurs (Act 2) [8:14]
A4 Götterdämmerung: Siegfried's Rhine Journey [6:02]
This set sounds a lot more sophisticated and polished than anyone I have heard so far. Beautifully rendered with grand scale. It gives the true sense of large epic *God like* story justice. Even the Ride of Valkyries does not feel cheezy and *commercial* ( meaing sounding like John Wiliams or Danny Elfman scores ). He drops the tempo slightly and maintains more of brisk strolling strides rather than the usual galloping ride. Klemperer gives dignity and real presense to the music. Highly textured this is filled with many visual ques.
George,
Thank you so much for chiming in.
You have such a wonderful way to put things right with a bag of cool words!
Speaking of honesty, altho, hugely different in style and rendition, Toscanini's excerpts from Der Ring also is very *human* in that I can feel the breathing quality behind the score.
Both conductors are excellent at tension management. But for Wagner program, I feel Klemperer nails it.
btw, Klemperer's Tchaikovsky's 4th Symphony is a favourite of mine ( you might have suggested it in the past ).
The 4th movement makes more sense than Mravinsky's.
An excellent recording of Das Rheingold, in what would and should have been the start of Decca's second Ring. The project was abandoned after Die Walküre, supposedly due to lagging sales and no tenor who could sing Siegfried. A major pity...
EJ
An excellent recording of Das Rheingold, in what would and should have been the start of Decca's second Ring. The project was abandoned after Die Walküre, supposedly due to lagging sales and no tenor who could sing Siegfried. A major pity...
EJ
Never mind, get Carlos Kleiber conducting Tristan und Isolde instead.
An excellent recording of Das Rheingold, in what would and should have been the start of Decca's second Ring. The project was abandoned after Die Walküre, supposedly due to lagging sales and no tenor who could sing Siegfried. A major pity...
EJ
Never mind, get Carlos Kleiber conducting Tristan und Isolde instead.
Graham,
That is a good recording of Tristan but not sure of the connection with this Rheingold?
EJ
First spin - the first entry in a planned complete Ring from St Petersburg. No effort was spared to make this a critical success: René Pape as Wotan, Jonas Kaufmann as Siegmund, Nina Stemme as Brünnhilde, and wonderful sonics: it's hard to believe this is a live recording. The team behind this label is the same behind LSO Live, and they've surpassed themselves here.
Cheers,
EJ
Still stuck on Tristan.
This is a typical US Angel reissue mono but less frequency limited and has a better clarity than usual. Tonal colour and voices are decent so long as stays in the midband. The voices do not get congested like later DG pressing.
Furtwangler's direction is more relaxed than Toscanini. Flagstad's Isolde voice, whilst she could still hit the high C, sounds darker than everyone so far lacking brilliance and sparkle a little. But she is able to express fragile vulnerability and sense of sad resignation. Astonishing that she was pushing 60 when she recorded this. Suthaus voice has an ease with spaciousness. It is a comfy voice with no stress in upper range.
Furtwangler's reading has a right balance to serving the singer in a best light without becoming a total wall paper. Plenty of textures and rhythmic accents. Sweet Love Duet is intimate and dear. A beautiful finale between Isolde and orchestra albeit distant perspective and Flagstand is slightly lost in the orchestra.
Surprisingly, 60 years later, this performance does not sound dated.