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Wagner: Tristan und Isolde / Böhm, Nilsson, Windgassen


Release Date: 11/11/1997 
Label:  Dg The Originals Catalog #: 449772   Spars Code: ADD 
Composer:  Richard Wagner
Performer:  Wolfgang WindgassenChrista LudwigBirgit NilssonMartti Talvela,   ... 
Conductor:  Karl Böhm
Orchestra/Ensemble:  Bayreuth Festival OrchestraBayreuth Festival Chorus
Number of Discs: 3 
Recorded in: Stereo 
Length: 3 Hours 39 Mins. 

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Notes and Editorial Reviews

Recorded in performance, but one act at a time so that the principals could sing full-out, this is one of the most electrifying opera recordings of the stereo era. Nilsson blazes as Isolde, and Windgassen’s Act-III evocation of the delusional Tristan is heart-wrenching. Böhm inspires transcendent playing from the Bayreuth forces, and the sound is stunning. – Ted Libbey, author of The NPR Guide to Building a Classical CD Collection Recorded in performance, but one act at a time so that the principals could sing full-out, this is one of the most electrifying opera recordings of the stereo era. Nilsson blazes as Isolde, and Windgassen’s Act-III evocation of the delusional Tristan is heart-wrenching. Böhm inspires transcendent playing from the Bayreuth forces, and the sound is stunning. – Ted Libbey, author of The NPR Guide to Building a Classical CD Collection Read less

Works on This Recording

1.
Tristan und Isolde by Richard Wagner
Performer:  Wolfgang Windgassen (Tenor), Christa Ludwig (Mezzo Soprano), Birgit Nilsson (Soprano),
Martti Talvela (Bass), Eberhard Wächter (Baritone), Claude Heater (Tenor),
Erwin Wohlfahrt (Tenor), Gerd Nienstedt (Bass), Peter Schreier (Tenor)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Bayreuth Festival Orchestra,  Bayreuth Festival Chorus
Period: Romantic 
Written: 1857-1859; Germany 
Date of Recording: 1966 
Venue:  Live  Festspielhaus, Bayreuth, Germany 
Language: German 

Sound Samples

Tristan und Isolde: Prelude. Langsam und schmachtend
Tristan und Isolde / Act 1: "Westwärts schweift der Blick"
Tristan und Isolde / Act 1: "Frisch weht der Wind der Heimat zu"
Tristan und Isolde / Act 1: "Weh, ach wehe! Dies zu dulden"
Tristan und Isolde / Act 1: "Auf! Auf! Ihr Frauen!"
Tristan und Isolde / Act 1: "Herr Tristan trete nah!" - "Begehrt, Herrin, was Ihr wünscht"
Tristan und Isolde / Act 1: "Tristan! - Isolde! Treuloser Holder!"
Tristan und Isolde / Act 2: "Tatest du's wirklich?"
Tristan und Isolde / Act 2: "O König, das kann ich dir nicht sagen"
Tristan und Isolde / Act 2: Prelude
Tristan und Isolde / Act 2: "Hörst du Sie noch?"
Tristan und Isolde / Act 2: "Isolde! Geliebte! - Tristan! Geliebter!"
Tristan und Isolde / Act 2: "O sink hernieder, Nacht der Liebe"
Tristan und Isolde / Act 2: "Einsam wachend in der Nacht"
Tristan und Isolde / Act 2: "Lausch, Geliebter!"
Tristan und Isolde / Act 2: "Doch unsre Liebe, heißt sie nicht Tristan und - Isolde?"
Tristan und Isolde / Act 2: "So starben wir"
Tristan und Isolde / Act 2: "Rette dich, Tristan!"

Customer Reviews

Average Customer Review:  1 Customer Review )
 Sensational- Deserves 10 Stars! July 20, 2013 By Henry S. (Springfield, VA) See All My Reviews "Tristan and Isolde pushes the limits of even Wagner's own aesthetic vision of the orchestra's role in modern opera. Here the music is not simply an accompaniment to the singers; it is in fact a leading element, shaping and controlling the dynamics of the action and even establishing the psychological ambience within which the singers can achieve above and beyond what should be reasonably expected. Karl Bohm's incendiary and famous recording from the 1966 Bayreuth Festival is a perfect example of this. To start with, Bohm worked with a wonderful festival orchestra that played its heart out for him and the cast. As far as the singers are concerned, Wolfgang Windgassen's Tristan, Martti Talvela's King Mark, Christa Ludwig's Brangane, and above all Birgit Nilsson's Isolde set a standard which I doubt can be surpassed. Bohm's steady vision and firm control of all forces steadily builds to an abolutely apocalyptic, hair-raising Act 3. All one has to do is listen to Windgassen's agonized, searching, troubled exposition as the wounded, dying Tristan, leading to Nilsson's breathtaking performance of the concluding Liebestod as Isolde joins her beloved in immortality. This Tristan and Isolde was recorded live at Bayreuth, and I can only imagine the emotionally exhausted condition of the Bayreuth audience at the end. The same effect can easily be sensed by what is contained on these magnificent disks. I submit that this Tristan and Isolde is a recording for the ages, one which any self-respecting Wagner fan should own in his or her collection. Highest recommendtion!!" Report Abuse
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