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Wagner: Tannhauser / Lustig, Rysanek, Nilsson, Bohm


Release Date: 04/29/2014 
Label:  Andromeda   Catalog #: 9065  
Composer:  Richard Wagner
Performer:  Leonie RysanekRudolf LustigGottlob FrickMarcel Cordes,   ... 
Conductor:  Karl Böhm
Orchestra/Ensemble:  Naples Teatro San Carlo ChorusNaples Teatro San Carlo Orchestra
Number of Discs: 3 
In Stock: Usually ships in 24 hours.  

Works on This Recording

1.
Tannhäuser by Richard Wagner
Performer:  Leonie Rysanek (Soprano), Rudolf Lustig (Tenor), Gottlob Frick (Bass),
Marcel Cordes (Baritone), Karl Terkal (Tenor), Philip Curzon (Bass),
Birgit Nilsson (Soprano), Karl Gustav Jehrlander (Tenor), Ljubomir Pantscheff (Bass),
Patricia Brinton (Soprano)
Conductor:  Karl Böhm
Orchestra/Ensemble:  Naples Teatro San Carlo Chorus,  Naples Teatro San Carlo Orchestra
Period: Romantic 
Written: 1845/1861; Germany 
Date of Recording: 03/03/1956 
Venue:  Live  San Carlo Opera House, Naples, Italy 
2.
Der fliegende Holländer: Jo-ho-joe! Traft ihr das Schiff by Richard Wagner
Period: Romantic 
Written: 1841/1852; Germany 
3.
Rienzi: Erstehe, hohe Roma, neu by Richard Wagner
Period: Romantic 
Written: 1840-1843; Germany 
4.
Rienzi: Kennt ihr mich noch! by Richard Wagner
Period: Romantic 
Written: 1840-1843; Germany 

Sound Samples

Tannhauser: Act I: Overture
Tannhauser: Act I: Naht euch dem Strande (Chorus)
Tannhauser: Act I: Geliebter, sag? Wo weilt dein Sinn? (Venus)
Tannhauser: Act I: Dir tone Lob! Die Wunder sei'n gepriesen ()
Tannhauser: Act I: Geliebter, komm! Sieh dort die Grotte (Venus)
Tannhauser: Act I: Zieh hin, Wahnbetorter, zieh hin! (Venus)
Tannhauser: Act I: Frau Holda kam aus dem Berg hervor (Hirt)
Tannhauser: Act I: Allmacht'ger, die sei Preis! ()
Tannhauser: Act I: Wer ist der dort in brunstigem Gebete? (Hermann)
Tannhauser: Act I: Als du in kuhnem Sange uns bestrittest (Wolfram)
Tannhauser: Act I: Zu ihr! Zu ih! O fuhret mich zu ihr ()
Tannhauser: Act II: Orchestereinleitung
Tannhauser: Act II: Dich, teure Halle (Elisabeth)
Tannhauser: Act II: Dort ist sie; nahe dich ihr ungestort (Wolfram)
Tannhauser: Act II: Verzeiht, wenn ich nicht weiss, was ich beginne (Elisabeth)
Tannhauser: Act II: Den Gott der Liebe sollst du preisen ()
Tannhauser: Act II: Dich treff ich hier, in dieser Halle (Hermann)
Tannhauser: Act II: Freudig begrussen wir die edle Halle (Chorus)
Tannhauser: Act II: Gar viel und schon (Hermann)
Tannhauser: Act II: Blick ich umher in diesem edlen Kreise (Wolfram)
Tannhauser: Act II: Auch ich darf mich so glucklich nennen ()
Tannhauser: Act II: O Walther, der du also sangest ()
Tannhauser: Act II: Dir, Gottin der Liebe soll mein Lied ertonen ()
Tannhauser: Act II: Was hor dich? Wie, Elisabeth! (Chorus)
Tannhauser: Act II: Weh! Weh, mir Unglucksel' gem! ()
Tannhauser: Act II: Ein furchtbares Verbrechen ward begangen (Hermann)

Customer Reviews

Average Customer Review:  1 Customer Review )
 It's good! December 5, 2014 By Jeffrey S. (Pekin, IL) See All My Reviews "I initially debated about buying this Böhm live Tannhäuser from the San Carlo Opera in Naples or the Otto Gerdes studio set. I wanted Birgit Nilsson singing Venus. What swayed me towards this Andromeda cd package was Karl Böhm, Nilsson, Leonie Rysanek and Gottlob Frick. I was also intrigued to hear a live event in a 1950s Italian house, especially a Wagner opera. I was very pleasantly surprised. The sound takes but a moment to adjust to. It is in slightly dim monoraural radio broadcast sound, but mostly very clear with only patches of tape hiss audible, and the prompter is only heard in the Pilgrim's chorus in Act 3, and then only for a few seconds. The audience is amazingly quiet considering that there probably weren't too many Italians in 1956 who weren't chain smokers and unabashed about coughing whenever the urge overcame them. I was never annoyed with this audience at all, they are just there and their rapt attention is palpable. They applaud at the end of 'Dich teure Halle' but if you are a veteran of the Metropolitan opera broadcasts this won't phase you one bit. This is the only recording I have heard with the concert ending to the Overture to Act 1. The audience gets to applaud that before being forced to sit on their hands for the next hour. They cheer to the rafters, Böhm waits. Then the proper opera begins. And there is Birgit all dolled up like Olympia in The Tales of Hofmann (Venus graces the compact disc set photograph on the front). Nilsson is a terrific Venus. I like her better live in this part than in a controlled studio setting. She sounds hard and ruthless on the Gerdes set, which I heard many years ago and did NOT buy. I object to the same soprano singing both Venus and Elisabeth. That is too much like a circus act. Nilsson sounds seductive and dangerous. Her Tannhäuser is Rudolf Lustig, a tenor popular at Bayreuth and around Germany but not overseas as far as I know. He is quite fine in this killing role. He shows moments of fatigue at the end of Acts 1 and 2 but he never falters or cracks or goes flat. Leonie Rysanek brings down the house with her gigantic beautiful voice. And she manages to present a vivid image of this troubled heroine in a huge opera house setting with very primitive mic'ing. Gottlob Frick's voice is extremely beautiful here, it always was, with his flickering vibrato more in evidence than it was in later years after many heavy roles thickened it a little. Marcel Cordes (born Karl Schumacher in Stelzenberg, Germany, there's probably a story there) is a very good Wolfram. His voice is well-trained, lyrical and rather beautiful if not distinctive. But he sings his two big songs with a deal of emotional impact that doesn't quite reach the heights of his colleagues but does himself proud nonetheless. There is beguiling simple-sounding Shepherd in Patricia Brinton in Act 1. I never heard of this charming soprano before, or since, but here she is preserved forever on this jolly evening at the San Carlo Opera in Naples in 1956. There is no libretto naturally but it doesn't matter. Oh, yes, and the chorus sings in Italian and the principals in German, but I didn't notice as the chorus is fairly recessed compared to the soloists and the big numbers are cut quite a bit. But they sing well and the ladies do an angelic job as angels at the end. Böhm's direction is magnetic. He keeps his Italian band in good order. In fact they play beautifully throughout, especially the strings who get through the complex and speedy overture with aplomb and no mishaps in ensemble. Only the brass have their rare moments of intonation problems which I think stemmed more from over-enthusiasm than anything else. This is an historical release, not for beginners or audiophiles. It's for lovers of Tannhäuser, and those who want to venture out of the usual digital world into a more civilized and gritty world that is long gone now. Highly recommended." Report Abuse
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