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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.
... Read more ›This is arguably the best cd recording I have of a Wagner opera and I would compare it favourably with Karl Bohm's more modern recording. Where Bohm's tempi are more predictable and swift sometimes to the detriment of feeling Furtwangler's approach is more patient to the extent that he extracts greater feeling out of the dissonant chords whose failure to recapitulate are more agonizingly and passionately transmitted.
Furtwangler's recording here is long, but it is always captivating - Bohm's effort seems longer - allowing for the full ethereal mood to be engendered; such atmospheric effect I feel is of utmost importance in productions of Wagner's later works such as Parsifal, Der Ring and Tristan as it tends to imbue the works with the sort of existential angst which often appears lacking in more modern adaptations and which I believe is of fundamental importance to an understanding of the sort of sound and operatic mood that Wagner was looking for.
Liebestod is also superb here.
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