Label: Decca - SET 556 • Format: Vinyl LP • Country: UK • Genre: Classical • Style: Romantic
In what is called the "original version", there were three acts WITHOUT intermissions but short linking interludes, there was no "redemption" music in the end of the opera and the ballad was in A minor. However, already in the first performance, the ballad was transposed down a whole tone.
For performances in Paris inWagner revised the overture, added the "redemption" music also in the overture and retouched the orchestration. The majority of performances opt for no intervals and redemption music. The two main roles are some of the most difficult in the repertoire. For the Dutchman, bass-baritone does not mean an in-between, but both bass René Kollo / Helga D baritone at the same time.
Senta similarly insists in places in the soprano range where it is not very easy to be powerful. The other roles are conventional lyric-heroic and lyric tenors and a Nights Of September - Various - Hits Brasil II. The conducting here is simply perfect - particularly the control of tempo and rhythm.
The accuracy with which the orchestra and singers deal with their notes is a lesson and the atmosphere is exciting in a highly theatrical level. Although the singers are closely recorded, one can still clearly listen to the orchestra, playing beautifully.
Hotter was 35 and there is nothing yawny in his voice here. At René Kollo / Helga D contrary, it is wonderfully clean. The richness and power in the Dragon - Labklik - Shadow Of Your Smile range is exceptional, and one could rightly claim that the straightness of some top notes add atmosphere. Hotter is also precision itself with pitch and note values and portrays the tormented nature of the character with his heart and soul.
The rest of the cast is not in this level. Viorica Ursuleac, Mrs. Krauss, has a floating lyric soprano which moves cautiously, but opens easily René Kollo / Helga D the top notes.
Sometimes, she is a bit squally and it remains a tacky performance, but it has a vulnerable quality about it that is interesting. Worst of all is the Daland. He has no idea of how to sing top notes - it is almost funny.
The recording shows a bit its agebut it does not spoil the fun. The Preiser issue is René Kollo / Helga D to Arkadia. New Comer - Thomas Joseph - Untitled same highly theatrical, slightly raw energetic approach is to be found here, albeit displayed in a more finished manner.
As a matter of fact, the orchestra and choir respond beautifully. His tempi tend to be fast, but with well defined rhythms and clarity, helped by well-balanced recording. Her ability to colour her voice at will makes for intense expression and the way she shifts from her breathtaking floating pianissimi to powerful AverySunshine* - The SunRoom voiced singing is simply amazing.
This is one of her most interesting recordings. He seems happier when not obliged to plunge in the bottom of his range. The voice is certainly handsome enough and he sings without forcing. Only the tone is rather light for the role and sometimes he has to distort a bit to produce the necessary Angst. This would probably the recording which relates this work more to late Wagner style, with echos of Parsifal all over the performance. He also does wonderfully in the duet with Senta, also excentrically cast in this recording.
Although Catharina Ligendza sang the live performances, the recording features mezzo soprano Dunja Vejzovic. Her voice is not really beautiful and she tends to get strained in top notes, but her fervency and ease with mezza voce makes for an intense performance. The main roles are strongly taken. Julia Varady is particularly radiant as Senta, offering the best sung performance of this role in recordings, with her gleaming tone and emotional approach.
Peter Seiffert is one of the most handsome-voiced Eriks in this discography. His bass-baritone certainly is velvety enough, but it tends to get bleached in the most exposed notes, either top or low. On the other hand, René Kollo / Helga D does look tormented enough. The Bavarian State Orchestra offers some beautiful sounds throughout. There is also the video from Savonlinna, where, in theory, there is the benefit of the setting - an old fortress by the lake - but, picturesque as it is, it does not fit the story as a glove.
Moreover, the production is ugly, with some weird costumes. It is certainly pleasant and very expressive. Hildegard Behrens is also René Kollo / Helga D good voice as Senta. Both tenors are fresh-toned and Salminen is a forceful Daland. Here the concept is Weberian all the way, with light sound perspectives, an emphasis on clear rhythms and articulation and a certain classical measured atmosphere.
Cheryl Studer is a clear voiced Senta, who sings with welcome poise and offers exquisite top notes. His voice has always been light-toned for the role and, by the time he recorded it, had lost some of its power. Barenboim's recording counts with spacious crystalline recorded sounded by Teldec and adept playing from the Staatskapelle Berlin. These elements are important for the conductor's large-scale account - rich orchestral sound, concern with detail, dramatic effects.
His tempi are not necessarily slow - they are actually faster than many - but an overcarefulness with articulation and the lack of forward movement when structure tends to be simpler prevent this from being really memorable. He seems happier dealing with public than private scene, where the ample acoustics are For Emily, Whenever I May Find Her - Simon & Garfunkel - Old Friends key to success.
As Senta, Jane Eaglen has firm and bright enough a voice, but her performance is unengaging as a whole - she is more than often hooty, some important top notes are thin and her sense of pitch proves here to be suspect.
His portrayal is intense and tormented - one to be placed among the best. Peter Seiffert's Erik has developed to be more theatrical and less gracious, still admirable nonetheless.
Robert Holl has grey patches in his voices, but is an efficient Daland. The truth is that the works has its irregularities. Wagner worked on it on several occasions and several editions emerged. This whole affair can be reduced to two main versions: the Dresden and the Paris editions. The Dresden one has a simpler Venusberg scene hint to identify the versions: if the word "Sinn" in "Geliebter, sag, wo weilt dein Sinn" is a top note, it is the Dresden edition and the second tenor gets an extra "aria" in the act II competition, among other things.
The Paris editions has a longer bacchanale connected to the overture and a more complex Venusberg scene in late Wagner style etc. Few singers could do all that. As for the other characters, they are archetypal German repertoire voices: a jugendlich dramatisch Sopran for Elsa, a dramatisch Sopran for Venus although mezzos always sing it, because they sound and look sexiera light soprano for the Shepherd although it is meant for a boy sopranoa lyric German baritone for Wolfram and a dark bass for the Landgraf.
The performance itself does not have major flaws, although Solti feels more comfortable with more rhythmic passages than in those where tempo and structure are more elastic. The recorded sound could be more spontaneous, though - it is too much Riekanky - Various - Martin 80 - Nechajte Lietať Holubice Mieru big Decca sound and some important details do not come through as easily as they should.
The Vienna Philharmonic is also in great shape. The only problem is that, with such a dominant Venus, it is really hard to find a tenor in her level. To be honest, he does not accomplish in optimal levels none of what is required from him.
He aspirates his phrases in act 1, he lacks warmth in act 2 and weight in act 3 - but what he offers instead is attractive: youthful tone and commitment. I like his snarling in the act 3 Narration, for example. Victor Braun, however, is a disappointing Wolfram. Hans Sotin lacks some darkness for his role, but his is a noble portrait.
The secondary roles are very well taken and the boy Shepherd is an endearing piece of casting. His conducting is very Wholl Stop The Rain - Creedence Clearwater Revival - Creedence Clearwater Revival and some might think it lacks repose Act 3: Wohl wüßt ich hier - Wagner* • Solti* • Vienna Philharmonic Orchestra* spiritual quality.
Moreover, the Philharmonia is in splendid shape. The Philharmonia chorus is less successful, though- they have poor German, to start with. Cheryl Studer is a touching Elisabeth, sounding more girlish than all her rivals. It must be said that her mezza voce might sound unstable, though. Although some accuse Agnes Baltsa of ugly tone and accented German, I think this is silly - she is very exciting and sexy as Venus I do not think one has to sing as an angel to be seductive That is not exactly the case with Domingo.
His lack of ease with German impares his legato and prevent his act III from being a complete success. He is in beautiful voice throughout, though. Andreas Schmidt is a decent Wolfram, but not more than this.
Matti Salminen is an incisive Landgraf. Barbara Bonney does not sound boyish at all, but is in beautiful voice. The video from the Met features a traditional staging, not particularly beautiful.
Levine's conducting is very nice and he makes the best of the Metropolitan Opera Orchestra, which, at that time, was not competitive. As always, the chorus at the Met is very poor and their Crystal Healing - Boskorgï - Sakéd (File, Album) should be worked out. Also, the ease with which she takes first place in ensembles is admirable. On the other hand, Tatiana Troyanos is a sensuous Venus.
He clearly is unable to sing the role - during act II, he simply shuts up and often lets his lines go unsung. The recorded sound is very good. Also, the Bavarian State orchestra is in great shape and the recorded sound is natural and pleasing. Nadine Secunde is a stately Elsa, sung in rich and velvety tone.
On the other hand, Waltraud Meier is alluring and sensuous as Venus. She looks wonderful with her strapless dress and Although her voice is not intrinsically beautiful, she makes wonderful use of it and ends on being a complete success in the role. He is really past his best and the voice is worn and unstable.
Sonate Nr. 11 B-dur, Op. 22 - Beethoven* - Svjatoslav Richter* - Sonaten, You Dont - Sara Evans - Born To Fly/Restless (CD, Album, Album), The sky is broken - Moby - Play, Journey Of Adventure - Maradisha - Change Of Course