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Wagner - Tristan Und Isolde [2007] [DVD] [2010]

Robert Gambill , Nina Stemme , Nikolaus Lehnhoff , Directed for TV and DVD Thomas Grimm    Exempt   DVD
4.0 out of 5 stars  See all reviews (5 customer reviews)
Price: £34.88 & FREE Delivery in the UK. Details
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Product details

  • Actors: Robert Gambill, Nina Stemme, The Glyndebourne Chorus, London Philharmonic Orchestra, Jirí Belohlávek
  • Directors: Nikolaus Lehnhoff, Directed for TV and DVD Thomas Grimm
  • Format: Anamorphic, Box set, Classical, Colour, DTS Surround Sound, DVD-Video, Widescreen, PAL
  • Language: German
  • Subtitles: German, French, Italian, Spanish
  • Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
  • Aspect Ratio: 16:9 - 1.77:1
  • Number of discs: 3
  • Classification: Exempt
  • Studio: Select Music & Video Distribution
  • DVD Release Date: 31 Dec 2007
  • Run Time: 350 minutes
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (5 customer reviews)
  • ASIN: B00118DQXI
  • Amazon Bestsellers Rank: 85,189 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)


Product Description

Glyndebourne's celebrated 2007 production of the Wagner opera from director Nikolaus Lehnhoff. Conductor Jiri Belohlavek leads the London Philharmonic Orchestra. Nina Stemme's Isolde and Robert Gambill's Tristan are matched by superb performances from Rene Pape as the betrayed and vulnerable King Marke and Bo Skovhus as Kurwenal, touching in his helpless devotion to Tristan. This High Definition recording of a production of uncommon intimacy reveals the opera's music and drama in a new light.

Product Description

OA 0988; OPUS ARTE - BBC - Inghilterra; Classica Lirica

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Customer Reviews

4.0 out of 5 stars
4.0 out of 5 stars
Most Helpful Customer Reviews
19 of 20 people found the following review helpful
4.0 out of 5 stars Best 21st Century Tristan on DVD. 4 April 2008
By Philoctetes TOP 500 REVIEWER
This Tristan arrived with plenty of hype and is certainly about as good as one dare hope for in these times. The staging, although conceptual, is at least imaginative and visually striking without being completely foolish or haphazard. Yet,as is always the way with opera nowadays, there are annoying details, mannerisms, which will pall on repeated viewing.

Nina Stemme, it must be presumed, will blossom into the great Wagner soprano of this quarter of the new century. At the moment, her acting leaves a little to be desired. There is little sense of consuming passion, erotic love or transcendence in this performance. Her constant smirk during Marke's despair is truly painful to watch.

The tenor, Robert Gambill, looks impressively deranged in Act Three, somewhat goofy in Act Two where his voice is horribly strained and wobbly. I know, it's a uniquely taxing opera for singers. They simply have to be heroic in their capacity and although he looks the part, his voice and characterisation leave much to be desired.

The support from the other singers, not for the first time, is exemplary. Belohlavek and the LPO offer a strong but insufficiently exciting interpretation of Wagner's torrential music. Camera work and lighting is satisfactory despite one or two peculiarities.

Better than this, although dated as films (grainy images) are the two available performances by the incomparable Birgit Nilsson. Amazon offer the 1973 performance at Orange with the remarkable John Vickers as Tristan and the superb Karl Bohm conducting. Unless you're fussy about sound quality, this is the one you should buy. The other one, from Japan alongside Windgassen's Tristan, is very hard to find but well worth it.
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41 of 45 people found the following review helpful
4.0 out of 5 stars Superb performance with a few rough edges 12 Feb 2008
I so wanted to give this recording five stars: the overall impression it leaves is so profoundly beautiful it seems churlish not to. Unfortunately there are a few rough edges, and so I'm reluctantly marking it down to four.

The opera itself is, of course, utterly amazing, and is always a strong contender for the most emotionally powerful music ever written. The performance of it here is generally excellent. Jiri Belohlavek goes for an intimate interpretation in his conducting, low on orchestral fireworks and big noises, and well suited to the Glyndebourne venue. His control of the orchestra never falters, and the London Philharmonic certainly live up to their excellent reputation. The singing, too, is very good, though some of the acting is less so.

Nina Stemme is simply magnificent as Isolde. Her voice is beautiful and secure in the role, and her acting is subtle and intelligent. Robert Gambill as Tristan has a good, masculine, baritonal edge to his voice, but he seems less comfortable as an actor, and in fact he seems to act best when he's forgetting to act at all. The slightly wayward wig that he wears for the first two acts probably didn't help him. Rene Pape is wonderful in the role of King Marke, and he gives the character real depth and interest. Bo Skovhus gives a great performance as Kurwenal, and Katarina Karneus is a sensitive Brangaene. Stephen Gadd sings Melot very well, but I felt his acting was a bit basic.

The problems with this recording are really in the production and its presentation on DVD. Although the acting is generally very good, one or two moments - the fight scenes, really - don't work. Kurwenal's slow-motion killing of Melot is a cliché, and the fight between Tristan and Melot is poorly choreographed.
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6 of 7 people found the following review helpful
5.0 out of 5 stars A great Isolde 9 Jan 2010
This is a splendid record of a great and, at last, a really intelligent production of a masterwork. Not everyone liked Behlolavek's conducting as much as I did, but I thought his understanding of the score and his relationship with the singers, particularly, Stemme and Pape was outstanding. All the other roles were done well, but for me those two dominated the evening. For her it was another step on the way to becoming not just the Isolde of our time but one of the very greats, a process crowned by her performances at ROH last year. A real singing actress who seems incapable of singing a false note, has reserves of pwer for every climax and knows every note and word of the score, she never allows the detail to deflect from the big picture. It would be hard to forget the passion of her Act I performance or of the transfigured Isolde floating away from us in the closing bars and with this DVD one can bring it back at will. A happy memory of Glyndebourne's first Wagner.
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5.0 out of 5 stars Spoilt achievement 6 Feb 2014
I have often wondered whether I even wanted to watch a video of Tristan and was happily disabused here. This production is acted with such concentration and conviction by all participants that it never leaves you in any doubt - the drama may be essentially interior but the singers live and breathe it with the greatest precision, show almost impossible stamina, and generally excite awed admiration. Also, Belohlavek who is not particularly known as an opera conductor demonstrates easeful mastery of the score - it could scarcely be better paced.

Virtually everyone is a hero, and so is producer Nikolaus Lehnhoff, only with one or two significant reservations. First of all he deserves the greatest praise with Belohlavek for drawing such focussed dramatic performances from his artists. Also, with his design team he makes very powerful use of a small stage and abstract set - perhaps the camera also helps but there is a play with the raking of the stage which makes the actors loom large, particularly when emerging from the back: the way the figures tower remind me slightly of Eisenstein's film Ivan the Terrible, and though this may be incidental, it ends up with an almost similar chill. It could be said that narrative has been twisted. There are only hints of this in the first two acts in which Brangaene has taken on a slightly witch like cast, as if she is hiding something and has secret malevolent intent like the nurse in Die Frau ohne Schatten. In final moments of act one she hovers over the reeling Tristan and Isolde like a great bat in her dark cloak, as if she has always been the catalyst of death. It is remarkable piece of theatre but one you really cannot read into Wagner's intent. She is not that kind of figure: she is a victim like everyone else.
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