Tristan Und Isolde Comp [Original recording remastered, Import]

It seems to me that most of the negative reviews of this recording come from people that see "Tristan und Isole" as a drama in the narrower sense of the word, i.e., a progression of events designed to milk out as much passion, sensuality, etc., as is conceivable. If this is what you desire out of a "Tristan" recording, you can buy Bohm's fine stereo set, which is very theatrical in this sense. On the other hand, if you desire a deeper satisfaction, if you want to be enlightened as well as entertained, then this set is unsurpassed, beyond compare. As observed in Richard Osborne's excellent liner notes, Furtwangler thought that 99% of the people that heard "Tristan" came away with the completely wrong notion of it. It ISN'T about two people who fall madly in love with each other, and die because of intolerance, it is about two people who, through love, reach a higher state of existence, whose souls become one, and, with death, leave the false Day for the true Night of blissful nonexistence (note: I am not recommending that anyone take this step; that is the reason why there must be a drama on these topics, because one shouldn't try them out in real life). Looking at the recording from this perspective, it could not conceivably be any better. From first note to last, Furtwangler realises musically the soul state of Tristan and Isolde, showing their progression from the suffering of desire to the bliss of renunciation: hearing the Liebestod on this recording for the first time was one of the most moving experiences of my life thus far. Flagstad also works wonders: many people complain of her matronly, un-sexed interpretation of the role of Isolde, but her combined insight and passion fit perfectly with what I feel the drama is really about. Characterization aside, her voice absolutely perfect, rich but frighteningly precise. The Tristan of Ludwig Suthaus, though perhaps not the very best on record, is still uniformly excellent. Especially wonderful is his treatment of Act III, anguished but noble. A young Fischer-Dieskau as Kurwenal is another of the highlights, and the rest of the cast is more than satisfactory. In addition, the Philharmonia plays superbly, with a weight reminiscent of the Berlin Philharmonic (a feat not achieved under any other conductor), and the recorded sound is just about as good as it gets for 1952 mono (which, despite the griping of some, is fully satisfactory). Even if you think you hate Wagner, I recommend you listen to this with an open mind and heart, and look for the profound nature of the drama and the music: you might just change your mind.

A word on behalf of the cast of this legendary recording. Obviously the team of Flagstad and Furtwangler are the ultimate selling point, however.....

Suthaus has a most attractive masculine heldentenor voice. His is the best of any other Tristan on the market. His tone is more beautiful than Jon Vickers (compare them by listening to the EMI Karajan stereo set). As for complaints that he is strained, his duets with Flagstad are masterful and his performance in Act III is amazing, very moving without being course or histrionic. The end of Act II sound's just as it should, given his charater's waves of erotic and romantic emotion. He lives his role perfectly and has a powerful voice that matches his heroines artistically.

Dietrich Fischer-Dieskau's portrayal of a youthful Kurwenal is of the highest artistic order. I say no more.

Many criticise Blanche Thebom. However, she is never less than highly competent in the role of Brangane. She is a perfect foil for Flagstad's incomparable Isolde. This is a significant role. One that in the wrong hands can threaten to dominate and rival rather than balance with the female lead. Thebom sounds what her role is, a servant of Isolde's, not her rival. Her voice is not unattractive, and suits her role perfectly. Artistically she serves Flagstad, with just enough edginess in her voice to denote her character's wary nervous tension.

Greindl sounds just right as the mature monarch cuckolded by his trophy wife. He sound's angry in Act II, just as his character should. There are prettier voiced interpretations. But his voice perfectly suits the drama.

I am amazed by reviews that overlook the considerable achievement everyone concerned put into this recording. The casting may have been expeditious, but it gave us performances that are dramatically compelling. It is legendary because everybody gave of their considerable best, and tuly inhabited their roles.

Wagner wrote a music-drama. This set represents a perfect blend of both. Buy this set and you will not be disappointed by anyone of the cast.

After a long road of learning to appreciate this opera, I finally found this version with Flagstad, a legendary Isolde. I was moved beyond measure. I really care less that "another great German soprano" sang a couple of high C's for her in the great second act duet. Two notes a role does not make. This is a thrilling performance, and the conducting is sublime. The opera moves constantly forward, never lingering too long on any one thought or feeling (or any one measure, either). The opera is very much alive, and very moving.

Of all the recordings of this opera out there, this is by far the very best. EMI was wise to use it in its famous works series. The sound is lush, but one never hears the incredible sound one listens to in the Decca Ring conducted by Solti. EMI never was able to record sound with as much depth and with the fullest of frequency that Decca was able to do. That depth of frequency in recording does much for Wagner. However, that is a very little thing when the whole is considered. This recording is lush, wonderful, and moving. The sound is very full, and the singers are balanced with the orchestra and not recorded too closely.

This is a must buy for anyone wanting this opera in their collection. It is well worth the price.