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Notes and Editorial Reviews
Rumored to be EMI's last opera recording made in a studio, this much awaited set's raison d'être is the Tristan of Placido Domingo. Now in his mid-60s, it is relatively certain that he'll never sing the role onstage, and since it is the pinnacle of German opera tenor roles and Domingo loves a good challenge (and besides that, he's conquered Otello, the pinnacle of Italian tenor roles, and dozens of others), it is natural that he'd want to sing it. His baritonally-tinged tenor is in remarkably good shape (both on stage currently and here, on this recording), and he has done a great deal of work to get this role right. Wagner wanted his operas sung in the Italian manner, and so Domingo's juicy, Mediterranean sound and smooth legato are
most welcome; it's the barking of most other tenors that is unpleasant and anachronistic.
For the most part, Domingo's portrayal is a success. Vocally there are almost no problems--perhaps a bit of strain in the long third-act rants and an inability to sing truly pianissimo--and for the most part, he gets through this epic role unscathed. Emotionally and psychologically it would take another few years for him to get inside Tristan, and here he seems to miss the character's depth at times. He's remarkable at first, sounding spontaneously surprised/outraged at Isolde's request to see him. But once he's in dialogue with her his attention seems to flag; he lacks the snap in his retorts that is required. Something similar happens in Act 2: after a spectacular entrance and exchange with Isolde, he slips into what seems like automatic pilot for the day/night/ecstasy business in the love duet. The fact that he returns splendidly for "O König" only points up his previous disinterest. Act 3 is magnificent--nuanced, raving, and desperate, without perhaps the sheer mania of Vickers, but certainly with more vocal control. It's a very moving and handsome portrayal.
Swedish soprano Nina Stemme is mightily impressive as Isolde. The voice is beautiful, the tone focused if somewhat less broad than what we're accustomed to in this part--that is, Flagstad, Nilsson, Leider, Mödl, Varnay. Her whole sound is young and vibrant (very rare in this part) and it's a joy to hear the high Bs and Cs shot out so securely, with no danger of spreading or losing their tonal center. Her piano singing could use some work, but the same was said about Nilsson early on. What Stemme misses (or can't express vocally) is Isolde's sarcasm and deep-rooted resentment in Act 1; she's good at anger, but it needs more refining. Nevertheless, she's a terrific Isolde and will only get better if she husbands her resources.
Mihoko Fujimara is an oddly light Brangaene. At first she seems disengaged, but that's not it--she's a lyrical maid-servant who has her own way of dealing with her Princess. She's dreamily effective in her Warning. Olaf Bär's Kurwenal is very like Fischer-Dieskau's: he attempts to roughen his sound more than necessary and there's a sense of forcing the character, but he's grand in the last act. René Pape is a youthful, bruised Marke. What a voice! Luxury casting gives us the stunning Seaman of Rolando Villazon, just a bit too distantly recorded, and Ian Bostridge, who effectively whispers the role of the Shepherd. The others are just as fine.
Antonio Pappano is unarguably a great opera conductor, as he has proven with his French-language Don Carlos, his Tosca, Manon, and Werther--and he does not disappoint here. His Tristan lacks the metaphysical, heavily philosophized grandeur of Furtwängler's and the neurotic rush-to-death of Böhm's, but it is a powerful statement nonetheless. He understands and communicates the omnipresent longing as well as the desolation; the prelude to the last act is anguished in the extreme. His fortes are a knock-out and he handles the quiet moments with real intimacy. His tempos are fleet--the opera takes 226 minutes (Furtwängler takes 256; Solti's first recording 239, just to give some perspective)--but only once do they seem inappropriate: as Tristan launches into "So starben wir..." near the end of the Love Duet, the pace is practically jaunty, clearly a miscalculation. The recorded sound is excellent despite misjudgments in the far placement of the brass announcing Marke's arrival in Act 1, and the gorgeous cor anglais solo in the last act, which is too close. Orchestra and chorus could not be better.
– Robert Levine, ClassicsToday.com [9/15/2005]
Note: This 4-disc set comprises the full opera on 3 CDs and a special bonus DVD containing the complete music in DTS 5.1 surround sound and Dolby Digital Stereo, to be played on a DVD player. The listener is able to select and hear different scenes of the opera with the full effect of 5.1 surround sound and view the full libretti on screen in English, French and German, all via the DVD menu. Read less
Works on This Recording
Tristan und Isolde by Richard Wagner
Nina Stemme (Soprano),
Rolando Villazón (Tenor),
Mihoko Fujimura (Mezzo Soprano),
René Pape (Bass),
Jared Holt (Tenor),
Matthew Rose (Bass),
Olaf Bär (Baritone),
Placido Domingo (Tenor),
Ian Bostridge (Tenor)
Royal Opera House Covent Garden Orchestra,
Royal Opera House Covent Garden Chorus
Written: 1857-1859; Germany
Venue: EMI Abbey Road Studio 1, London, England
Length: 226 Minutes 29 Secs.
Notes: EMI Abbey Road Studio 1, London, England (11/2004 - 01/2005)
Tristan und Isolde, ERSTER AUFZUG: Einleitung (Orchester)
Tristan und Isolde, ERSTER AUFZUG, Erster Szene: Westwärts scheift der Blick...Wer wagt mich zu höhnen (Seemann/Isolde/Brangäne)
Tristan und Isolde, ERSTER AUFZUG, Zweiter Szene: Frisch weht der Wind...Mir ekoren, mir veloren (Seemann/Isolde/Brangäne)
Tristan und Isolde, ERSTER AUFZUG, Zweiter Szene: Hab acht, Tristan! Botschaft von Isolde (Kurwenal/Tristan/Brangäne/Schiffsvolk Ritter und Knappen)
Tristan und Isolde, ERSTER AUFZUG, Dritte Szene: Weh, ach wehe! Dies zu dulden! (Brangäne/Isolde)
Tristan und Isolde, ERSTER AUFZUG, Dritte Szene: Welcher Wahn! Welch eitles Zürnen! (Brangäne/Isolde/Schiffvolk Ritter und Knappen)
Tristan und Isolde, ERSTER AUFZUG, Dritte Szene: Ho! he! ha! he!/Am Untermast die Segel ein!...(Schiffsvolk Ritter und Knappen/Isolde) ... Auf! Auf! Ihre Frauen! Frisch und froh! (Kurwenal/Isolde/Brangäne)
Tristan und Isolde, ERSTER AUFZUG, Vierte Szene: Herr Tristan trete nah (Isolde) ... Begehrt, herrin, was ihr wünscht (Tristan/Isolde)
Tristan und Isolde, ERSTER AUFZUG, Fünfte Szene: War Morold dir so wert (Tristan/Isolde/Schiffsvolk Ritter und Knappen)
Tristan und Isolde, ERSTER AUFZUG, Fünfte Szene: Tristan!/Isolde!/Treuloser Holder (Isolde/Tristan/Schiffsvolk Ritter und Knappen/Brangäne/Kurwenal)
Tristan und Isolde, ZWEITER AUFZUG: Einleitung (Orchester)
Tristan und Isolde, ZWEITER AUFZUG, Erster Szene: Hörst du sie noch? Mir schwand schon fern der Klang (Isolde/Brangäne)
Tristan und Isolde, ZWEITER AUFZUG, Zweite Szene: Isolde!/Tristan! Geliebter! (Tristan/Isolde)
Tristan und Isolde, ZWEITER AUFZUG, Zweite Szene: Getäuscht von ihm, der dich getäuscht (Isolde/Tristan)
Tristan und Isolde, ZWEITER AUFZUG, Zweite Szene: O sink hernieder, Nacht der Liebe (Tristan)
Tristan und Isolde, ZWEITER AUFZUG, Zweite Szene: Lausch, Geliebter!/Laß mich sterben! (Isolde/Tristan)
Tristan und Isolde, ZWEITER AUFZUG, Zweite Szene: So starben wir, um ungetrennt (Tristan/Isolde/Brangäne)
Tristan und Isolde, ZWEITER AUFZUG, Dritte Szene: Rette dich, Tristan! (Kurwenal/Tristan/Melot)
Tristan und Isolde, ZWEITER AUFZUG, Dritte Szene: Tatest du's wirklich? Wähnst du das?...Wo zu die Dienste ohne Zahl! (Marke/Tristan)
Tristan und Isolde, ZWEITER AUFZUG, Dritte Szene: O König, das kann ich dir nicht sagen...Als für ein frem des Land (Tristan/Isolde)
Tristan und Isolde, ZWEITER AUFZUG, Dritte Szene: Verräter! Ha! zu Rache, König! (Melot/Tristan)
Average Customer Review: ( 2 Customer Reviews )
Extraordinary architecture January 24, 2014
By Dan Goorevich See All My Reviews
"Wagner did not call his operas operas because they have as much in common with drama as music. This is not an ordinary opera. It is not an excuse for classical music with singers. Nor is this an ordinary performance. Other recordings treat this material as music, not theater, but Pappano gives us something different from the very first note. He concentrates on building, above all, a musical armature; a world made up of sinew, muscle, tendon, ligament: a dynamic astringent world-space which itself creates the people who live in it and within whom and between whom the drama unfolds as a natural part of that space itself. That makes this recording outstanding. The world created is sustained at every moment. Listen to the opening itself. In Bohm's famous version the first chord comes after the three notes that fall like a foot on a stair. In Pappano's version, there is no before, no after: world, spirit, feeling and deed are one. The chord slides under the foot and... we are there..."
outstanding June 4, 2013
By William Schneider (Yaphank, NY) See All My Reviews
"I do not have the musical vocabulary to do this recording justice.Suffice to say that I loved the discs.The sound was full and clear,Domingo is Domingo,Wagner sung with a warm tone and fullness of voice and orchestra.I would strongly recommend this recording to anyone who loves Wagner."