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Wagner - Tannhäuser
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Détails sur le produit
Liste des titres
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Descriptions du produit
"Daniel Barenboim, indudablemente el director wagneriano más importante del momento, nos presenta su Tannhäuser, cerca ya de la finalización del ciclo de óperas de Wagner. En esta ocasión la versión elegida por Daniel Barenboim es la de Dresde, excepto la escena segunda del segundo acto en la que la versión de París es la seleccionada por el director. Esto hace este Tannhäuser aún más especial. El elenco está compuesto por las figuras más prestigiosas del momento: Waltraud Maier, Jane Eagle, Peter Seifert, René Pape y Thomas Hampson."
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Commentaires client les plus utiles sur Amazon.com (beta)
most of the singers fit barenboims view like a glove and most of them are 'germanic' in origin, hence there is (mainly) good diction and attention to the meaning of the text. peter seiffert must rank as one of the most successful tannhausers in a long time, his sound is beautiful while he is expressive and in the end the tormented broken figure that tannhauser becomes. while he hasn't quite the domingo-bloom in his voice (but then domingo's german is so unidiomatic and, beautifully as he sings, his portrayal under sinopoli is painted in water colors - whereas seiffert's is a person of flesh and blood) and sometimes here is a hint of unevenness when he puts pressure on his voice (but never obtusively so), his is an interpretation that shines like a star!
none of the other men needs to fear to be outshone though, as they hold up their ends to build quite the strongest male trio all around! next to seiffert there is hampson's hypersensitive wolfram (and his 'abendstern' aria in the last act just grips you by the throat), although an american, his diciton is crystal clear - his wolfram is very much in the dietrich fischer-dieskau mode ... and i think that is praise in itself. rene pape is probably the best of all landgrafs (and no, i am not forgetting kurt moll under haitink!), his every utterance full of meaning and his voice just a gem! so were it only for the men this set would get 6 out of 5 stars!!!!
alas, the female side seems somehow undernourished (with the exception of roschmann'a charming sheperd). waltrud meier remains the consummate artist she was and her word pointing is done with great care - she is a believable venus. but the voice in itself lacks the sensuousness needed to understand why tannhauser is tempted by her again and again. furthermore her voice has lost some of its bloom in recent years (many would say it never had any bloom ... but that is personal taste) and her slurring of the notes prevents a crisp diction (just compare her venus here with her ortrud under abbado and you can hear the decline in the voice since 1991). she paints a vivid portrayal, but vocally it leaves alot to be desired.
whereas meier still succeeds through her personality, i have to admit that jane eaglen's elisabeth is a total desaster. her first entrance is squally, her second aria (that wonderful prayer!!!!) flat and inexpressive and throughout the set the cutting edge of her singing and her non existent attention to words or expression make me wonder who decided to cast her in that role?! (but knowing that she is an exclusive teldec artist answers that question ... though it still makes it a scandalous decision, especially as there is such a wonderful german soprano called angela denoke who made such a big impression singing elisabeth in berlin!!!!)
so overall this set gives extrem pleasure if you manage to mentally block out jane eaglen. nonetheless: buy it (and skip her arias when listening to it!)!!!!
Of course not. Barenboim is by now a supremely experienced and intelligent Wagner conductor, and he straddles the split personalities of this piece with ease, telling the story with a grip on the broader architecture whilst giving the individual scenes their own personalities. The Venusberg music is as sexy and languid as one could wish, whilst the Wartburg is all splendour and ceremony. the second act builds up a fine head of steam and the Rome Narration is gripping. The orchestral playing is absolutely beautiful, refined and phrased with suoreme care and attention to detail, and to my ear Barenboim's grip on pacing is superb. The (large-sounding) chorus, afforded so many marvellous opportunities in this piece, are excellent.
Barenboim picks soloists very much of "his" team, and has a good rapport with them. Seiffert is thrilling, sounding youthful and ardent and tackling the taxing vocal lines - with their cruel excursions ever higher - without trouble. Rene Pape, popping up as the Landgrave/Marke/Heinrich all over the place, is for a good reason the Bass of choice nowadays for this repertoire. The tone is rock-solid, his German clear and idiomatic and his phrasing generous and expressive. The same could be said of Hampson, whose finely focused baritone is most welcome as Wolfram. It's not free of strain- the Wagner parts he is now taking on do test him a little - but the tone never thins and he uses the character's moments in extremis to paint an unusually involving portrait. And, thankfully, he doesn't wallow in the beauty of the Abendstern number - he thinks it through and makes uit a dramatic high point.
Much ink (type?) has been spilt over the female singers (save Dorothea Roschmann who, all seem to agree, is luxurious as the Shepherd). It has taken me a long time to be won over by Eaglen's Elisabeth, but won over I am. I'd agree that this is a peculiar piece of casting, as we aren't used to big, mature-sounding voices in this role, and at her first entry she sounds rather like Isolde in a Very Bad Mood. However, as the piece progresses her use of dynamics, her attention to the text and the sheer security of her singing become ever more apparent. Her scaling down of the sound can pull it flat and she lacks the radiance of others who have gone before. But it's a portrayal that repays repeated listening. Meier's Vanus is a known quantity, and I'd agree that her voice is slenderer than in the past, but her technique and her dramatic involvement are undiminished. She is an artist who always throws in 110% and the first scene, where she and Seiffert make some real dramatic sparks fly, is gripping.
I wouldn't chuck out Sinopoli for this recording - nor many older classics - but I would thoroughly recommend adding it to your collection, if only for the superb playing and conducting, as well as some exciting singing.
As for the cast, yes, there are some flaws. Jane Eaglen makes up for her disappointing work in Barenboim's "Der Fliegende Hollander". It sounds heavy, as if she is Brunnhilde in "Der Ring Des Nibelungen," But her expression is rock-hard and it is not entirely devoid of feeling. Waltraud Meier may not be the best Venus, but at least she tried very hard. Peter Seiffert has done an incredible job with the role of Tannhauser. It's precise, it's unique, and best of all, it sounds like what Wagner intended. The rest of the cast is solid gold, very stunning in their own way.
Despite some flaws from the cast, this Tannhauser by Barenboim ranks with the finest available. NOTE: This, along with the set by Otto Gerdes, is the Dresden Version. Sinopoli and Solti belong to the Paris Version. If you know the main differences between these two, then add Barenboim to your list. If you do not know the main differences, then I suggest that you listen to the Dresden version first, and then the Paris Version. Keep in mind, though, that while this IS the original version, the second scene of Act One is based on the Paris Version. Otherwise, you'll be able to figure out why Wagner made some changes in the score when showing the opera in Paris.
Peter Seiffert is phenomenal as Tannhauser. Most tenors, I have heard sing this role, seem to be on the verge of strangling. Not Seiffert! He seems to revel in the cruel tessitura of Tannhuaser. The difficult passages are sung with great skill, ease and beauty. In fact, he sings the entire role of Tannhauser just beautifully without a hint of strain or choking. That is no easy accomplishment for any of the heavy tenor roles of Wagner and especially with Tannhauser.
Rene Pape is new, as a singer, to me. He sings wonderfully with a full and rich bass voice. I look forward to more recordings from him.
The best I save for last--Thomas Hampson. I've been a fan of Thomas since his very early "Rossini days". I heard him tackle the heavier Verdi roles, and I was impressed and delighted with his performances. Nothing prepared me for his foray into Wagner. His performance as Wolfram is fantastic--such a rich, full, even and large sound! His performance of Wolfram is more beautiful and thoughtfully sung than any I have heard. Of course being the intellectual that he is, one gets the feeling that every phrase is thought-out extensively, and he certainly has the voice to produce whatever his thoughts are on his role
Barenboim does an incredible job of conducing this massive work. If only he had made (to me) better choices for the two female leads--oh well, I guess we can't have everything! Anyway, for some fantastic male Wagner singing, buy this recording. You will NOT be disappointed. As far as fantastic female Wagner singing is concerned, go elsewhere.