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Tristan Und Isolde [Box set]

Wilhelm Furtwangler Audio CD
4.3 out of 5 stars  See all reviews (7 customer reviews)
Price: £82.14
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Product details

  • Audio CD (3 Sep 2001)
  • SPARS Code: ADD
  • Number of Discs: 4
  • Format: Box set
  • Label: EMI Classics
  • ASIN: B00005MIZN
  • Other Editions: Audio CD
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: 157,694 in Music (See Top 100 in Music)

Disc: 1
1. Prelude
2. Westwarts Schweift Der Blick
3. Brangane, Du? Sag - Wo Sind Wir?
4. O Weh! Ach! Ach, Des Ubels, Das Ich Geahnt!
5. Frisch Weht Der Wind Der Heimat Zu
See all 23 tracks on this disc
Disc: 2
1. War Morold Dir So Wert
2. Ho! He! Ha! He! Am Obermast Die Segel Ein!
3. Du Horst Den Ruf?
4. Auf Das Tau! Anker Los!
5. Trisatn!..Isolde!
See all 22 tracks on this disc
Disc: 3
1. Doch Unsre Liebe
2. So Sturben Wir, Um Ungetennt
3. Habet Acht! Habet Acht!
4. O wew'ge Nacht, susse Nacht!
5. Tristan und Isolde, opera, WWV 90: Act 2. Scene 3. Rette dich, Tristan!
See all 20 tracks on this disc
Disc: 4
1. Noch Iosch Das Licht Nicht Aus
2. Mein Kurwenal Du trauter Freund!
3. Hirtenreigen Auf Einer Schalmei
4. Nein! Ach Nein! So Heiss Sie Nicht!
5. Der Trank! Der Trank! Der furshtbare Trank!
See all 17 tracks on this disc

Customer Reviews

4.3 out of 5 stars
4.3 out of 5 stars
Most Helpful Customer Reviews
21 of 23 people found the following review helpful
By A Customer
Format:Audio CD
A word on behalf of this legendary set's cast. 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.
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19 of 21 people found the following review helpful
5.0 out of 5 stars Flagstad and Suthaus give immortal performances 21 Dec 2002
Format:Audio CD
Yes, this is a fifty year old mono recording, but the sound quality is very good, it is spatial. The remastering onto CD has enhanced the clarity of sound. The conducting is amazing, as one would expect, and the orchestra are of the highest quality. But it is Flagstad who is the revelation. Having heard the Bohm/Nilsson DG set and thinking it couldn't be better, I recently bought this one, realising straight away this is one of the finest recordings of an opera ever produced. Furtwangler takes the work at the correct speed, unlike Bohm's over paced conducting. Flagstad is the selling point though. She has both power and vulnerability. Once you have heard this performance you will find all other recordings stand in it's shadow. Do yourself a favour and buy it, you won't be disppointed.
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15 of 18 people found the following review helpful
5.0 out of 5 stars Furtwängler.The greatest of conductors. 26 May 2000
Format:Audio CD
This is a staggering interpretation . One of the best examples you can get of Furtwängler 's interpretative powers . His conception is on such an exalted plane , as to defy description. Just to listen to the third act , and hear how he brings Suthaus and the Philharmonia into his cosmic vision , is an experience not to be forgotten . The 1997 remastering is very successful , making an already good recorded sound even better.This is probabely the greatest opera recording on the market.
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6 of 8 people found the following review helpful
5.0 out of 5 stars POTIONS AND PASSIONS 27 Nov 2008
Format:Audio CD
When the recording under review dates from the early 1950's, a reviewer in late 2008 had better start by saying something about the sound quality. In fact I own it on a vinyl set that I have had for well over 40 years, the sound seems very good indeed to me even by more recent standards, and comment that I have read regarding the cd transfer suggests that no disaster has happened in the process. So I give the sound a good pass mark.

What comes to us in this satisfactory sound is, in my own opinion, one of the greatest things in the classical recorded repertory. Whatever one thinks of Furtwaengler's symphonic style, his genius as a conductor of Wagner has no equal that I can think of in the era of recording. The famous or notorious flexibility of his beat is ideal for such a work as this, and his wonderful capacity to evoke the finest orchestral sound still comes over in all (or anyway most) of its glory after all these years when he had at his command what was then the world's finest orchestra. I have just acquired Boehm's 1966 Tristan from Bayreuth, and I can only say that you hardly have to reach the third bar before you appreciate the difference between even so fine a conductor as Boehm and the transcendent greatness of Furtwaengler. The refinement, and at the same time the strength, of his orchestral palette - this surely must have been the stuff of Wagner's own dreams. The yearning that Furtwaengler expresses in the famous Prelude has no equal that I can recall, and it is not just a matter of the slowish tempo. This tempo is in any case only on the slow side of average, and it would be altogether misleading to characterise the tempi taken throughout the work as a whole as being slow. You do not have to get far into Act II to appreciate that.
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