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Wagner : Tristan und Isolde

3.7 étoiles sur 5 3 commentaires client

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Page Artiste Christian Thielemann


Détails sur le produit

  • Interprète: Thomas Moser, Deborah Voigt, Robert Holl, Peter Weber, Markus Nieminen, et al.
  • Orchestre: Orchester der Wiener Staatsoper
  • Chef d'orchestre: Christian Thielemann
  • Compositeur: Richard Wagner
  • CD (1 janvier 2004)
  • Nombre de disques: 3
  • Label: Deutsche Grammophon
  • ASIN : B0001L5NNW
  • Autres versions : Téléchargement MP3
  • Moyenne des commentaires client : 3.7 étoiles sur 5 3 commentaires client
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Descriptions du produit

THOMAS / HOLL THIELEMANN / WIE

Commentaires en ligne

3.7 étoiles sur 5
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Format: CD
For me the recording of Tristan in 2004 from the Vienna State Opera, conducted by Christian Thielemann, is one of the most brilliant perfomances ever.

This is primarily due to Christian Thielemann, whom I like to wear on a gold and silver platter. I do not know any other living conductor, who evalutes every musical phrase so carefully, who rehearses with such intensity, who performs such a great music. And this during live recordings, which have a technical quality as in the studio. He makes perfect, sophisticated and brilliant live music. Listening to him is great fun at any second. He challenges the wonderful Vienna State Opera Orchestra, and more. He accompanies the singer with such a beautiful orchestral sound, where he filters out leading vocal instruments in a very chamber music style, thus forming a wonderful counterpoint to the vocal melodies and thus emphasizing the complex character of the score. He is marvellous with slow tempos, which he fills with musical life to the utmost limit of possibility. Savor, taste, fine adjustment, balancing of sound, these are the standards by which all other conductors have to be judged. His rubato is the measure of all things.

Christian Thielemann always find matching singers with whom he can make music and whom he need not only accompany. Deborah Voigt shows the class of her skill particulary in the final scene of Isolde. Here, she withstands Thielemann's challenges of a slow basic tempo and makes great music up to the end. Even if Thomas Moser is not a trained Heldentenor, he masters the Tristan marvellously. He stands out above all by a good pronounciation and a clear note. And the monologue of King Mark is an absolute gourmet menu.
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Format: CD
J'ai du mal à comprendre pourquoi cet enregistrement assez médiocre a été publié par Deutsche Grammophon.

Certes, la direction de Thielemann est intéressante, l'orchestre est beau (pour ce que la prise de son -moyenne- en révèle) et Deborah Voigt est une Isolde très correcte (même si on est loin de Birgit Nilsson ou Waltraud Meier), mais les voix masculines sont décevantes voire catastrophiques.
Le roi Marke de Robert Holl est acceptable mais assez peu expressif (rien à voir avec les grands Marke de Martti Talvela ou Matti Salminen) et parfois en difficulté pour ce qui est de la justesse des notes les plus basses.
Le Kurwenal de Peter Weber est acceptable aussi mais trop léger, presque ténorisant. Au moins chante-t-il juste, à défaut de pouvoir rivaliser avec Dietrich Fischer-Dieskau, Eberhard Wächter, Tom Krause ou Olaf Bär!
Le naufrage de ce "Tristan", c'est... Tristan!... Thomas Moser n'était plus en état, à presque 60 ans, de chanter ce rôle extrêmement lourd. Le timbre est cotonneux, la puissance très insuffisante et surtout, surtout, il chante souvent faux au troisième acte, le plus éprouvant, car il ne peut plus atteindre les aigus exigés par la partition.

La hiérarchie de "Tristan et Isolde" en CD reste donc inchangée: Karl Böhm au sommet, avec Birgit Nilsson et Wolfgang Windgassen; Solti, avec Nilsson à nouveau et Fritz Uhl, remarquable ténor wagnérien de la même trempe que Windgassen; Barenboim avec Waltraud Meier et Siegfried Jerusalem; Antonio Pappano, avec Nina Stemme et un Placido Domingo superbe, aux aigus et à la puissance intacts.
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Format: CD
J'ai du mal à croire que le chef d'oeuvre de Wagner présenté ici a été enregistré par l'ORF pour la DG en mai! A entendre le public tousser à tout va, on se croirait en hiver, en plein épidémie de bronchiolite!!! C'est incroyable, c'est à la limite du supportable, ce d'autant plus, que le prise de son est tellement fidèle a l'atmosphère de la fosse au plateau qu'on loupe rien!

C'est dommage car ici tout est hypnotisant, l'orchestre, les voix, la direction attentive et intelligente de Thieleman qui a su relever le pari d'offrir un tristan nouveau, brillant et sensible!
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Amazon.com: HASH(0x9388f72c) étoiles sur 5 22 commentaires
15 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x93fc2144) étoiles sur 5 Which modern Tristan to buy? 5 octobre 2007
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
Since Thielemann's live Tristan and EMI's studio version with Placido Domingo both received decidedly mixed reviews, I thought it would be interesting to consider the leading available choices for this great opera. By some accounts, all are so uneven that there is no clear winner, but at least you can consider which elements of the work are most important to you and make your selection that way.

Condcutor: If all that mattered were the conductor, the situation would be golden. Wilhelm Furtwangler heads the list in 1952 with his much-acclaimed mono set on EMI, but at almost exactly the same time Karajan was conducting a live performance at Bayreuth, now issued in good broadcast mono by Orfeo, that gives Furtwangler a serious rival -- I prefer it, in fact. Twenty years later, this time in stereo, Karajan was magnificent with the Berlin Phil. in a studio set for EMI, despite some engineering quirks. Finally, there is Carlos Kleiber's dstreamlined modern view on DG. These four sets give us a conductor-dominated perspective of a score whose orchestral part alone would cause it to rank as a pinnacle of Western music. They encompass such diverse musical intelligence, insight, and virtuosity that I couldn't imagine wanting more. Other notable Wagner conductors -- Bohm, Solti, Knappertsbusch, and now (I suppose) Thielemann -- have also had their say in the modern era and have gained a clutch of enthusiastic fans, although I am not among them. Antonio Pappano, conducting on the EMI set with Domingo, gives a fresh reading with lots of virtues, although he seems consciously to steer away from Wagner style, perhaps too much so. Thielemann's great flaw is inconsistency; he is apt to go slack and lose focus, yet there are many moments of skill and beauty.

Orchestra: I wouldn't pick a favorite Tristan based upon the orcheswtra alone, but three glorious ensembles have recorded the work in top form: the Philharmonia for Furtwangler (not captured in the best mono sound, however), the Berlin Phil. for Karajan, the Vienna Phil. for Thirelemann, and the Bayreuth Festival Orch. for the eearlier Karajan, Bohm, and Barenboim (in case you consider him a major Wagner conductor -- I don't, but there's no doubt that the orchestra plays very well for him in a live performance on Teldec). In the opera house I don't think the Covent Garden orchestra could remotely keep up, but on Domingo's EMI recording they sound quite beautiful.

Tristan: For fifty years the long shadow of Melchior was so deep that every future Tristan was considered a make-do. However, Melchior made no commerical recording of the role, and those that exist from radio air-checks are a strain to listen to. Today only the old-timers mention Melchior's name, opening up the field for musical singers who have almost but not quite enough voice to rank as heldentenors. Windgassen gives an exemplary account for Bohm on DG, even though his leathery voice wasn't beautiful and he tires badly before the end -- the musicality is undoubtedly there. Even better is Domingo for Pappano on EMI, a studio effort that finds the aging superstar in tremendous voice, delivering one of his best Wagner roles. The thrilling high notes and bright tone are a huge plus. At the same level I would put Ramon Vinay singing for Karajan in his Bayreuth rendition. Vinay traveled back and forth between heroic tenor and baritone, giving tremendous animal magnetism and visceral impact to his portrayals. Both he and Domingo come from a Spanish-Italian tradition, so neither can be classed as a true German singer, yet they make convincing, moving Tristans. Siegfried Jerusalem, another intelligent artist, lags behind them on the Barenboim set becasue the role is three sizes too large for him rather than one or two; the same goes for Thomas Moser under Thielemann on DG -- obvious vocal strain makes both too hard to listen to. At the back of the pack comes Rene Kollo for Kleiber -- he is so overparted that you feel like you're watching a marathon runner trying to cross the finish line before he collapses from exhaustion. On Furtwangler's set Suthaus has a dry voice with medium heft, and the conductor's slow tempos quickly wear him out. I'm not sure why his dull Tristan has become a silk purse in the eyes of modern critics. If only the better-voiced and more musical Set Svanholm had stepped in to take his place.

The best news among Tirstans is that two tenors come as close as possible to being a match for Melchior, after conceding that no one ever will completely. The first, Jon Vickers, gives a risky, committed, emotionally intense performance on Karajan's stereo account. If no one else in the modern era had sung the role on disc, I would be satisfied, pace those critics who find Vickers too personal, even eccentric in his decidedly non-German approach. Sheer power, intelligence, and vocal gleam make up for whatever lack of authenticity one detects. The other "real" Tristan is Ben Heppner, who may fall a fraction short of being a heldentenor (he's more naturally suited to Walther in Meistesinger and the title role in Lohengrin), but who overcomes sall objections through sheer beuaty of voice, thrilling high notes, and emotional intenisty. Sadly, his Tristan can only be heard on a DVD of a live Met performance under James Levine. One hopes that a record company will capture him on disc before he gets too old -- I believe Sony BMG has announced plans of the sort.

Isolde: Conventional wisdom has it that two singers have owned the role, Kirsten Flagstad and Birgit Nilsson. That seems to leave little room for other dramatic sopranos, yet the case isn't quite so simple. It may offend true believers, but Flagstad sounds matronly and unexciting in her famous stuido recording under Furtwangler, and although she sings with great authority, I for one don't hear much dramatic diversity -- she keeps pouring out the same steady, huge sound without telling us much about Isolde's emotional changes. Brigit Nilsson, criticized in her day for the same reason, strikes me as a fierce Isolde in her live Bayreuth account under Bohm, yet nothing overshadows the fact that her assumption was stupendous. The gleaming voice conveys enormous intenisty and power, and the character stands before you in all her rage, passion, and eventual transcendence. To me, it's unthinkable to say you know the opera unless you have heard Nilsson. For a younger, somewhat softer version, she is the Isolde for Solti on Decca, too, caught a few years earlier. I find both portrayals incomparable.

Things get muddled after the big two. On Karajan's mono set we have Martha Modl, a powerful, intensely dramatic Isolde whose great flaw is that her voice was striking rahter than beautiful -- it's almost curdled at times -- yet for anyone who can listen beyond beauty of tone, Modl is very satisfying and a real risk-taker. On Karajan's stereo set the role goes to Helga Dernesch, a great Karajan discovery whose voice was supposedly ruined by taking on Brunnhilde and Isolde too early -- or perhaps she was never destined to be a true Wagnerian soprano, a hindrane that didn't stop Hildegard Behrens (heard to distressing effect on Bernstein's star-crossed version for Philips), Deborah Voigt (for Thielemann), Margaret Price (for Kleiber), Nina Stemme (for Pappano) or Waltraud Meier (for Barenboim), who isn't even a soprano.

Among all these contenders who don't quite fit the role, Dernesch comes closest. She had the misfortune to walk in Nilsson's shadow (not only here but as Karajan's Brunnhilde in Siegfried and Gotterdammerung on DG). I have never understood the criticism of her Isolde, which strikes me as beautiful, dramatic, and intense. Critics invariably praise Margasret Price, on the other hand, whose lyric soprano suited Mozart in youth and later grew into Verdi (sort of), but to me her Isolde is purely a gimmick of the microphone. Yes, she's youthful and fresh, but there's no real Isolde there in terms of stature and authority. Nina Stemme could turn into a convincing Isolde with time -- the young Sweish soprano shows great promise -- but she was out of her depth on the Domingo set, where her agreeable vocalism is undercut by dramatic blandness. Meier is too obviously a make-do, pinching out her high noes and hanging on for dear life the rest of the time, which brings us to Voigt. Her ventures into Wagner make sense in vocal terms, and she has the courage to do the role of Isolde live for Thielemann, exposing herself to cruel demands and inevitable exhaustion.

The probelm with Voigt is that, like Behrens, she possesses only half a Wagner voicce -- the gleaming top -- and where Behrens made up for lack of vocal weight through thrilling characterization, Voigt is a dull singing actress. She pushes the notes with sufficient intensity, yet you never feel Isolde's emotional power -- at every moment a soprano with a big, beautiful voice is just pouring out sound. Make the voice twice as large and you get Jane Eaglen, the dominant Wagner soprano of the day. Her strength lies in her top notes, too, but she can give a credible rendition of the entire role. Eaglen succeeds through sheer power, being able to carry over the orchestra without benefit of enhancement from the engineers. In the opera house she can be vocally stunning, but Eaglen isn't much for acting, so her portrayal on the same Met DVD as Heppner lacks dramatic interest. (I don't believe she will be paired with Heppner on his proposed recording, but there are resonable sounding pirate versions of their partnership from the Chicago Lyric Opera, easily fuond online. Be prepared for distortion and odd blanaces; clearly someone sneaked a portable tape recorder into the house)

I've tried to give a fair assessment of the Tristan recordings that impress me personally. In the end, of course, each listener must decide which elements of this vast opera are most critical. Since I put conducting first and foremost, followed by dramatic believability, my preferred sets are as follows:

Karajan -- EMI (stereo)
Karajan -- Orfeo (mono)
Bohm -- DG
Pappano -- EMI
Furtwangler -- EMI
C. Kleiber -- DG

Demoting Furtwangler from his legendary status is enough to earn a hail of disdain at Amazon, but for overall enjoyment my top three versions are the ones I have returned to for several decades.

P.S. -- for yars the Met has suppressed live recordings from its stage, but under the new management, many have suddenly appeared online at Real Rhapsody. They include a Dec., 1999 Tristan under James Levine with Hepner and Eaglen as the leads. It's a formidable performance, one of the very best since the Nilsson era. Unfortunately, Heppner's voice gives out three times in the final act, to painful effect. He and Eaglen are in fine voice otherwise, at least as good as in than on their DVD issue.
35 internautes sur 47 ont trouvé ce commentaire utile 
HASH(0x93969048) étoiles sur 5 A Triumph 27 juin 2004
Par Charles Richards - Publié sur Amazon.com
Format: CD
This recording has been much anticipated in the press, and I'm happy to say that it was worth the wait. Although I have had a tendency to be effusive in praise in the past, I am heartfelt in my statement (and prediction) that this will be recognized in years to come as one of the great, classic recordings of the 21st century. In short,this is the most successful, exciting and satisfying recording of a Wagner opera that I have heard in a long time.
The first order of praise must, of course, go to Christian Thielemann, who here proves himself to be the great Wagner conductor of our time, and a true successor to Karajan, Bohm, and Solti in his understanding of not only the letter of Wagner's score, but the emotion behind it. From the opening notes of the prelude, Thielemann immerses us in Wagner's world, and the famous "Tristan Chord" seemed as remarkable and astonishing to me in this hearing as it did when I first encountered it almost twenty years ago. Although Thielemann has been praised by the press time and time again, it has surprised me how slow he has been in gaining a larger "fan base" (others in this catagory would include Welser-Most and Adam Fischer, both exceptional conductors with almost no name recognition for the general classical-buying public), but I think this new recording might change that in no time.
The performance continuous at a luxurious, yet always dramatic pace, gaining strength as he first act continues; rapturous in the love music of the second, and devestating in the haunting despair and transfiguration of the third. The sound of the Wiener Staatsoper Orchestra is, of course, top rate (as it should be). They sound truly inspired under Thielemann's baton.
And now to the cast! With one stroke, Deborah Voigt has proven to this listener beyond all doubt that she is the great Wagner soprano of our time. Her performance here is a tour-de-force; ravishingly beautiful without ever showing a sign of strain, exciting, dramatic, and heartfelt. When she rages against Tristan in the famous "curse" of the first act, we truly believe in her fury, yet she has the proper insight to give us a sneak peek at the ambivelant emotions that lie underneath. The radiant love music of the second act it sung effortlessly, and by the time we reach her transfiguration in the "liebestod", it is hard for the listener to say to himself, "this is Deborah Voigt interpreting the role of Isolde" so much has she become one with this woman. And the "Liebestod" is, of course, amazingly delivered, even better than her recording of it on her recently released recital album on EMI, and that's high praise, indeed.
Thomas Moser is perfectly partnered as her Tristan. He has a glowing tone with a firmness required for this taxing role (only recall that the role's first interpreter died shortly after the opera's initial performances, and his death was blamed on Wagner's music!). Like Voigt, he changes vocal tactics with the growth of his character, from stalwart sailor and loyal servent in the first act, standing up to Voigt's formidable Isolde; to ardent lover in the second. It is in the third act that he truly triumphs, lending pathos and heartbreaking intensity to Tristan's death.
At first I found Petra Lang a weak link in the cast, thinking her Brangane slightly characterless in the beginning of the first act. I soon changed my mind, however, and she won me over in no time. Hers is an unusual voice, not immediatly pleasing to the ear (some may find it slightly "hooty"), and in this way it slightly reminded me of the instrument of Mara Zampieri, a contraversial soprano who, with time, I have grown to love. So was it with Lang; I did not care for the voice at the first, but by the middle of the second act I was in love.
Robert Holl's commanding King Mark, Peter Weber's lovely and loving Kurwenal, and Markus Niemann's truly nasty Melot round out a superb cast.
"Tristan", as those who are familiar with the work know, is a long opera, and can grow tedious when in the wrong hands, but I was spellbound throughout all 3 3/4 hours of this amazing new performance. Up until now, my favorite digital recording of the opera was Bernstein's (also on DG, issued in the late 80's), but (and I was not expecting this) it has been surpassed by Thielemann's effort. To conclude, and at the risk of putting myself out on a limb, I can only say that this is the greatest modern recording of this opera that I have heard.
8 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x94e97378) étoiles sur 5 A reassessment of this Tristan 13 juillet 2006
Par The Cultural Observer - Publié sur Amazon.com
Format: CD
I had reviewed this Tristan once and gave it three stars, but after giving it a second listen, I am beginning to find more and more insights to Christian Thielemann's conducting that I have never heard in the renditions of other conductors. In several ways, he has the gravitas of Furtwängler, the energy of Böhm, the lyricism and colour of Karajan, the clarity of Kleiber, and a unique Straussian insight to the score that makes this Tristan uniquely his own. When I first heard it, I heard a recording with a conductor who didn't have a voice in the recording, as if he were taking all the great interpretations of the past and meshing it into one evening at the opera. Now, I have seen another aspect of Tristan which has never amazed me so much that I would call this recording a great Tristan. In Thielemann's conducting, you are able to hear every leitmotif, every orchestral dimension and detail, and a unique tragic color that makes his Wagner so special in a day and age where conductors are becoming more incompetent in the operatic realm.

The cast is definitely another plus to this already great production. Deborah Voigt, the greatest Wagner and Strauss soprano of our day, brings her lush, creamy voice to a passionate Isolde. While she lacks the column of sound of a Nilsson or a Flagstad, she definitely outsings several of the sopranos who came before her. She absolutely has an advantage over singers like Margaret Price and Catarina Ligenza, and in some ways she blows Johanna Meier, Gwyneth Jones, and Martha Mödl out of the water. It is not yet the Isolde of our dreams, but she definitely has some ideas about the role that would in time mature into a great interpretation that would hold for the ages. Together with Christine Brewer and Nina Stemme, Deborah Voigt is perhaps part of the great tryptych of Isoldes that were once held by Mödl, Varnay, and Nilsson.

Thomas Moser is not a mind-blowing Tristan, but his beautiful timbre and his somewhat dark, lyric tenor is a callback to the Tristans of tenors like Windgassen and Kollo. While he doesn't have the delirious rantings of Windgassen, his third act is sensitively sung. He partners Voigt effectively in the second act duet, matching every luxurious vat of cream coming out of her mouth with his own brand of Viennese chocolate...call it a food analogy, but it works! I wouldn't compare him with Vickers, Melchior, Windgassen, or Suthaus, but he is a great Tristan in his own respect. One would wish that his voice were only a size bigger.

Petra Lang is a forceful, urgent Brangäne with plenty of artistic insight about her character. She is perhaps the recording's best supporting character. Peter Weber is a rightly gruff Kurwenal, although I wished he were a bit more honeyed like Wächter or intelligent like Fischer Dieskau. The drawback to this recording is Robert Holl's Marke, who isn't that bad, but where was Rene Pape when this performance was taking place?

All in all, I think this is a great Tristan that you should listen to. In fact, I recommend it to listeners once you've blocked Nilsson and Windgassen out of your minds.
12 internautes sur 17 ont trouvé ce commentaire utile 
HASH(0x94e5d8f0) étoiles sur 5 A Brilliant Performance 19 juillet 2004
Par Michael Donovan - Publié sur Amazon.com
Format: CD
It never ceases to amaze me how Voigt polarizes audiences. It's always 5 stars or 1 star - kind of like the debates that have raged over Callas, Sutherland, and Nilsson until history validated the unique gifts of these legendary artists. History will also validate Voigt's extraordinary talents. This is an Isolde unlike any other - woman and iconic superwoman all in one package. Lushly sung AND brilliantly characterized. The shift from rage to erotic delirium in Act 1 is particularly of note. I have every studio "Tristan" and a million bootlegs but (controversial as it may seem) Voigt's Isolde is my first choice and the reason why I give this set 5 stars. But let's not leave out Moser. There are very few memorable Tristans and while Moser is no Vickers or Melchior, he sings with authority and distinction. Act 3 is wildly sung - maybe too wildly but thrilling nonetheless. If I had to choose among all the Tristans since Vickers, Moser and Heppner would win hands-down. Petra Lang sounds so much like Rysanek, it's eery. She is truly special. A singing actress. And finally Thielemann. This is a slow Tristan (I doubt I could sit thru his "Parsifal") but it is filled with colors, insights, and brilliant touches. I wish he'd sped up the "Liebestod" but what style this man has. He's so obviously in control. This is HIS "Tristan". It's exciting to have a CONDUCTOR with personality instead of the McConductors who've mangled Wagner and everything else for the past 20 years.
HASH(0x9430d2b8) étoiles sur 5 Some extraordinary conducting. Mediocre singers. 15 novembre 2014
Par pekinman - Publié sur Amazon.com
I am a devoted 'fan' of Christian Thielemann. This is by far his worst opera recording and it isn't his fault. Clearly he was not inspired by the vocal inadequacies of almost all of the singers.

Deborah Voigt is awful. She does not and never did or will have the resources for Isolde. She eeked by with her Brünnhilde recently at the Met but it was in no way memorable either. Her Isolde is forced and thin-voiced. Her once silvery shine has turned to vinegar here. And this was BEFORE her tummy tuck.

Thomas Moser is a pushed-up lyric tenor. He fares slightly better than Ms Debbie but not much.

Peter Weber shouts, punches and wobbles his way through the role of Kurwenal. Petra Lang sings well, sounding more like an Isolde than Voigt, but she also sounds muffled and uninvolved, which may have been a result of her reaction to what looks to have been, and was by all reports on the scene, a very fatuous and physically demanding production, the bane of our times.

Robert Holl is okay. He is not as woolly sounding as he can be and his delivery of the text is in his usual fine lieder-like manner. But King Mark cannot carry this show all by himself. The smaller roles make no impact at all, except that John Dickie's 'young' sailor sounds old, wobbly and infirm. And he's set so far upstage as to be barely audible.

This live event from the Vienna State opera is recorded by DG without any frills. Singers voices come and go out of perspective and the vastness of the stage is quite apparent. The orchestra, the Vienna Philharmonic, is very prominent, mercifully as it turns out, and the singers, except for Debbie's Isolde, are distant much of the time. There is a deal of jarring crashing and banging from the stage action as well. Frankly it sounds like a routine night in the pit. Ensemble is slightly ragged in the prelude to Act 1 and there is little that is exceptional in any of the solo work, though this group plays beautifully most of the time, as usual. It is just nothing special.

Brangäne's call, for instance, is one of those magnetic places in all opera where the listener is, hopefully, suspended in a miasma of romantic ecstasy and bliss. Petra Lang, in this instance, is so far removed upstage as to sound like she's singing from the next hilltop, and in the driest acoustic imaginable. It has no effect whatsoever, beyond a desultory yawn. And DGG has done this fine singer no favors in this recording.

Thielemann faces the problem all current Wagnerian conductors face, few to no singers who are up to these kinds of roles, either vocally or dramatically. He deserves much better as I consider him the greatest of contemporary Wagnerian conductors. Perhaps his upcoming Tristan at Bayreuth in a couple of years will be recorded to much better results. I'm not holding my breath, however.

There are a few fragmentary pleasures in this recording however. Thielemans's conducting throughout is the main interest, especially in Act 3 which is special. It is then that one sits up and attends to his direction. Thomas Moser does a rather fine job of Tristan's madness. This is the only scene in this recording that works. Voigt's Liebestod is threadbare and exhausted.

There is no point in DG having preserved this performance. It is to be hoped that Thielemann will, as Intendant at the Staatskapelle Dresden, record a slew of operas and show the world what he is really capable of. IF he can find singers to match his own gifts.
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