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42 of 43 people found the following review helpful:
5.0 out of 5 stars
Perfect, 17 Jan 2001
Before buying this recording, I only had the EMI version with Furtwängler and Suthaus that had Flagstad before. I thought she was brilliant in that recording. Hearing her again here in a performace from 18th May 1936 in Covent Garden in London left me stunned. I had been wanting this performance for quite some time now, but I didn't want to buy it for $40 from Vai, but then I heard that Naxos Historical was going to release it. So I waited. And the wait definitely worth it.Having also heard Melchior in the role of Tristan in the performance from 1943, also released by Naxos Historical, and I was thrilled that he was even better here, 7 years earlier. What put me off on the EMI recording were the Brangäne and Marke. I am by no means a fan of Josef Greindl and found his Marke too gritty (I think Greindl is always too gritty). The mezzo who sang Brangäne (I forgot her name) was ok, but nothing else. But Sabine Kalter and Emanuel List, one of the greatest bassos ever, were both so remarkable. But the stars are Flagstad and Melchior, both singing such movingly, hauntingly beautifully and securly throughout the whole opera. Reiner's conducting is also extremely good. He has just the right timing and the orchestra also plays beautifully. Finally the sound. The sound is also remarkable. The sound is of course noisy (it is a live recording fra 1936), but still is it extremely clear. You hear what is being sung at all times with no distortion in the voices, even when they sing at the highest, which is a normal problem for recordings from that aera. Again, like the heading says, it is perfect. All the stars sing at their best and deliver the best performance one is likely to hear anywhere anytime.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
TRULY AMAZING, 20 Oct 2007
For a 1936 Covent Garden performance, this "Tristan Und Isolde" sounds wonderful. I've heard a couple of other pressings of this performance, and this Naxos version betters all of them. While certainly not state-of-the-art, it is very listenable, and the ear adjusts very quickly. Kirsten Flagstad's voice here is very different from that which is heard on the celebrated 1952 EMI Furtwangler studio recording, where she sounds staid and very matronly (though she still retained sufficient voice to be well beyond all competition at the time!). Here, sixteen years earlier, she sounds young, fresh, and incredibly rich-sounding. That said, it is certainly no wonder that she was regarded as the Second Coming. She projects searing fury in Act I, flowing lyricism in Act II, and a magnificent "Leibestod" at the end. Alongside with Birgit Nilsson, Kirsten Flagstad was THE dramatic soprano of the Twentieth Century. Lauritz Melchior is no less impressive. With all due respect to the accomplishments of Set Svanholm, Wolfgang Windgassen, and Jon Vickers, Melchior has had no successor. That he and Flagstad were destined to visit upon this world at the same time is dumfounding. Fritz Reiner's direction is vivid and compelling. This performance contains the cuts that were in fashion at the time, but I really can't complain about it. To my ears, the Love Duet actually works better WITH the cuts because it is more tightly bound together. This is a performance that every lover of great singing should have. But for afficionados of Flagstad and Melchior, this set is a mandatory "must have".
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4 of 5 people found the following review helpful:
5.0 out of 5 stars
Just glorious, 16 May 2007
Melchior's voice will, I suspect, never be surpassed. Manly, virile, velvety, barytonal, not a hint of sheep braying. In "Nacht der Liebe" he's a white glowing rod of steel reaching yearningly out to us ....and then ...and then he's soft and sensual, melting into dark red. Not a voice for every kind of opera, not a voice for songs by Carl Nielsen and Danish romantic composers - it can sound downright odd - but for the Wagner repertoire his power, stamina, range and colour is perfect.
And there's Flagstad. Unshakeable, that feeling of total control.
And of course Janssen's Kurwenal is the best on record, dramatic and with the deepest compassion.
All this on one set!
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