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Tristan und Isolde (Gesamtaufnahme)

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Page Artiste Leonard Bernstein

Détails sur le produit

  • Interprète: Léonard Bernstein, Heinz Zednik, Heribert Steinbach, Hildegard Behrens, Multi-Artistes, et al.
  • Orchestre: Symphonieorchester des Bayerischen Rundfunks
  • Chef d'orchestre: Léonard Bernstein
  • Compositeur: Richard Wagner
  • CD (6 mars 2006)
  • Nombre de disques: 4
  • Label: Philips
  • ASIN : B000BDIY2M
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 274.200 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. - tristan et yseult
  2. Tristan et yseult - acte I - frisch weht der wind der heimat zu
  3. Tristan et yseult - acte I - hab acht, tristan!
  4. Tristan et yseult - acte I - weh, ach wehe! dies zu dulden
  5. Tristan et yseult - acte I - wie lachend sie mir lieder singen
  6. Tristan et yseult - acte I - auf! auf! ihr frauen!
  7. - prelude to act 1. langsam und smachtend
  8. Tristan et yseult - acte I - westwärts schweift der blick

Disque : 2

  1. Tristan et yseult - acte I - herr tristan trete nah!
  2. Tristan et yseult - acte I - war morold dir so wert
  3. Tristan et yseult - acte I - tristan! - isolde! treuloser holder!
  4. - tristan et yseult
  5. Tristan et yseult - acte II - isolde! geliebte! - tristan geliebter!
  6. - prelude
  7. Tristan et yseult - acte II - hörst du sie noch?
  8. Tristan et yseult - acte II - isolde! geliebte! - tristan! geliebter!

Disque : 3

  1. Tristan et yseult - acte II - o sink hernieder, nacht der liebe
  2. Tristan et yseult - acte II - lausch, geliebter!
  3. Tristan et yseult - acte II - rette dich, tristan!
  4. Tristan et yseult - acte II - tatest du's wirklich?
  5. - tristan et yseult
  6. Tristan et yseult - acte III - kurwenal! he!
  7. Tristan et yseult - acte II - so starben wir
  8. Tristan et yseult - acte II - o könig, das kann ich dir nicht sagen
  9. - prelude

Disque : 4

  1. Tristan et yseult - acte III - wo ich erwacht, weilt ich nicht
  2. Tristan et yseult - acte III - der einst ich trotzt
  3. Tristan et yseult - acte III - bist du nun tot?
  4. Tristan et yseult - acte III - o wonne! freude!
  5. Tristan et yseult - acte III - o diesse sonne!
  6. Tristan et yseult - acte III - ich bin's, ich bin's
  7. Tristan et yseult - acte III - o diese sonne!
  8. Tristan et yseult - acte III - kurwenal! hör!
  9. Tristan et yseult - acte III - "mild und leise wie er lächelt" (isoldes liebestod)

Descriptions du produit


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1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The Studio Digital "Tristans": Bernstein 12 juin 2011
Par M. Villalobos - Publié sur
Format: CD
Of the five digital sound studio Tristans this is my favorite. Keep in mind that there really is no such thing as a perfect Tristan on disc much less a studio version in digital sound. I own three of the five in this criteria but I've heard them all. The first is Carlos Kleiber's on DG, the second, Bernstein's on Phillips, then the Barenboim on Teldec, then Leif Segerstam's on Naxos and last but not least the Pappano set on EMI. The Klieber is the first one I owned but not anymore unfortunately. Not that I did not like the performance (it was marvelous) it was the sound quality (or lack there of ) - shrill, artificial and poorly mixed - that turned me against it. Segerstam's is so substandard performance-wise that its only for the budget-minded however the sound is excellent. The remaining three, I own, being excellent performances and also having superlative sonics each.

The Bernstein set is the best conducted of the five in my opinion. There is a lot of unfair criticism of the "slowness" of the tempos. This is really unfounded as some parts of are actually played much faster than other versions on disc. What Bernstein is really guilty of is savoring and relishing in the best moments of this work. He never (and I mean - ever) misses any poignant, exquisite, dramatic, tormented, anguished or elated moment of this extremely emotional masterpiece. Nothing gets by Bernstein. Many parts are slower than what most are used to but these are usually the "Langsam" sections. Many "Schnell" sections are just as fast or faster than others I've heard. The Klieber version is speedy throughout and full of passion but the many eloquent "Langsam" sections go by way too quickly and feel like afterthoughts instead of the transfiguring experiences they are in Bernstein's version. Bernstein's Liebesnacht in particular is simply divine beyond words. I never really "heard" Tristan und Isolde until I heard Bernstein's. I became familiar with Klieber's first before anyone else's and was enthralled by this work but after hearing Bernstein's much more, well, DEEP interpretation it became my favorite art work of all time. The prelude is slower than most in tempo but all the tension and dynamics are there and they are there in the extreme. This makes the music never seem to drag or get boring. Regardless of the tempo the music is always very ALIVE and bristling energy. The instruments are instructed to play in the most colorful way and the score is always bright and shiny and textures transparent and detailed despite that they are sometimes playing at a slower than usual pace. In contrast Barenboim's brass-heavy interpretation seems a bit grey by comparison and the woodwinds rarely stand out. The orchestral phrases are always strong and have purpose especially when compared to Pappano who tends to use the orchestra as mere accompaniment. Bernstein's great sense of rhythm is also a factor in keeping the sense of forward motion. The "Isolde! Geliebte! ... Tristan! Geliebter!" duet is so full of rhythmical back and forth ceaseless beat that it could even be a jubilant dance while other conductors usually rush it so much that one rarely thinks of it that way. The impression one comes away with is that this interpretation of Tristan sounds unique but still very appropriate. Another attribute that this has over the other four is that it has the electric atmosphere of a live performance from everyone involved without actually being live. This is due to being partly recorded on several live performances interspersed with studio sessions. The Bavarian Radio Symphony Orchestra is excellent but falters during a few passages (they are no Vienna Philharmonic) however they maintain the riveting atmosphere throughout and deploy a warm beautiful sound.

Now comes this version's only Achilles heel - the singers. Expressively they are in top form. Behrens and Hofmann are truly moving in their delivery. There is a strong sense of involvement by all the singers and its a truly gripping experience in many instances. The problem is that they are just technically inadequate to handle the demands of this work. Bernstein's conducting is of the type where the singers have to keep up not the other way around. Behrens and Hofmann are the only voices in here with enough heft to not be drowned out by the orchestra but both have flaws. Hildegard Behrens' voice is not very pleasant to listen to and I've never liked it much because of its unsteady and "wiry" sound. However, this was recorded at a time when she still had a good lower register so that helps. This is particularly heard in her stunningly rapturous "Ha! Ich bin's, ich bin's..." the best of the five versions in my opinion. Hofmann is a golden-voiced heldentenor to be sure however he has real trouble in some demanding high notes during the "Mount Everest" that is the third act and occasionally sounds overtaxed. He does have his moments as in his enthralling final "Zu ihr! Zu ihr"... long and legato... piercing through the orchestral pandemonium. Yvonne Minton's Brangäne is merely okay and really nothing special. Bernd Weikl's Kurwenal is expressive but technically lacking. Both Minton and Weikl usually get drowned out by the orchestra. Hans Sotin is also nothing to write home about. So vocally all around this is simply too deficient a version despite the involved performances. It's really not a place to start when becoming familiar with the vocal parts of this work. The best sung overall of the five sets would probably be the Pappano version on EMI which includes Placido Domingo and Nina Stemme. However my favorite Tristan of the bunch would have to be Jerusalem on the Barenboim disc. I also loved Rene Kollo's performance on the Klieber disc. The best Isolde is Stemme for Pappano even if she is a bit frigid.

So, in closing, as far as transcendental conducting is concerned and riveting atmosphere the Bernstein set is the one that stands out the most. This is a very special recording in that sense. If you are bothered by the slowness of some parts like I was at first just give it a chance and keep listening to it. You'll eventually become a convert to Bernstein's extraordinary, unique vision. I sure did. Highly recommended.
3.0 étoiles sur 5 A Very Personal Conception that Ultimately Fails to Take Off 12 février 2009
Par The Cultural Observer - Publié sur
Format: CD Achat vérifié
Leonard Bernstein was one of the masters of the podium who took a very individual approach to every score that he approached with his baton. From his uniquely romantic Mozart to his lofty, spiritual Beethoven to his grandiose takes on Mahler and his arresting and powerful Shostakovich, Bernstein had a way of taking a score into his hands and turning it into a highly personal statement of what a master composer and director of music can do with the little black notes. Most of the time, his conceptualization of the pieces worked, painting with his unique brush strokes that few other conductors could ever do with a sheet of music. In the case of this Tristan, although Bernstein was able to develop a unique exposition on this extremely complex score, his vision was ultimately unmemorable due to an overindulgence on his part and a cast sometimes inadequate to the demands of Wagner's writing.

This recording of course is notorious for dragging out what is already one of the longest pieces of music to even greater extents. There is nothing wrong with exploring the breadth of a piece the way that let's say James Levine does with his Wagner. However, Bernstein does it in such a way that in my opinion reflects an extension of his inflated ego into the score that in ultimately transformed into an overtly saccharine and sometimes bitter taste of Wagner's art. I am not in opposition of taking liberties with a score, and with Wagner's Tristan (so deeply characterized by tempo rubato) one can truly be as extreme as let's say Böhm and Goodall. Bernstein, on the other hand, not only indulges in glacial tempi, but also seems to punctuate excessively and unnecessarily when such effects are not needed. A case in point is the second Act in this recording. Passionate it is, but it is also so sweeping in the wrong sense of the word that it lacks what most Tristans have--an intellectual and emotional balance that emphasizes the philosophical aspects of the music and the text. The third act is just taken on several levels of orchestral dynamic extremities that Tristan's plights become a caricature of what they actually represent--the longing and the Schopenhaueran desire for the divide between life and death. In the end, the undulating lines of Wagner's Tristan are lost in the orchestral salad that Bernstein fails to successfully toss around for what could have been one of the finest interpretations of this cornerstone piece of German music.

Bernstein's cast is also made up of singers who were either very good or inadequate. Hildegard Behrens I have few qualms about except for a voice that is slightly undersized for the demands of the role. Her arresting takes on Wagner's heroines prove an artist who understand the complexity of the text and the scope of the music while given only the unique resources she has. Like her Brünnhilde, she makes her Isolde very personal and transforms it into a creature of the stage that is at once fragile and human, less the goddess that Nilsson and Varnay fabricated onstage. There are times when her voice comes under stress and resorts to curious sounds that sometimes detracts from the completeness of her singing, but she ultimately makes Isolde riveting and her own. Her Liebestod in this recording is exquisite. Her consort Brangäne is played by Yvonne Minton, a fine Australian mezzo whose characterful singing and rich, full-bodied voice made her one of the finest singers in this repertoire after Christa Ludwig. Her perky timbre provided the perfect foil for returning Behrens' phrases and created a sound scape that was at the same time limpid and subliminal.

The men in the recording are taken by singers less memorable than the women. Peter Hoffman, although equipped with an instrument that by theory could have made Tristan absolutely touching and credible, was unfortunately by this time in possession of a voice ravaged by a premature and overtly involved venture in the heavy repertoire. His voice is constantly put under pressure to emit sounds that like Behrens seemed strained, but unlike the soprano, he fails to make Tristan a uniquely individual creation. Bernd Weikl is vocally resplendent as Kurwenal, if slightly bland and uninspired, whereas Hans Sotin makes little of Marke's text even when given such outstanding vocal endowment.

Even with Behrens' riveting Isolde and the gloss of the Bavarian Radio Symphony Orchestra's playing, Bernstein's indulgent conception of the work fails to make this opera what it really should be--an essay on passion, love, death and decadence exploring the divide between an earthly reality and heavenly rapture.
0 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Too expensive 5 février 2012
Par L. Flota - Publié sur
Format: CD
It's a rare cd for a collection,specially for Hofmann but Nilsson or Flagstad versions are more cheaper. I would buy it if the price was reduced considerably.
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