6 of 8 people found the following review helpful
Where's the Fire?,
This review is from: Wagner: Tristan Und Isolde Orchestral Passion, Liebesverbot, Die Feen Overtures (Audio CD)This is a recording of preludes from two of Wagner's early operas -- 'Das Liebesverbot', and 'Die Feen' -- which are both pretty forgettable, and for the main course there is an arrangement of music from 'Tristan und Isolde' by the Dutch percussionist, Henk de Vlieger. This 'Orchestral Passion' by Vlieger sticks pretty much to Wagner's own score but somewhat rearranges the order in which they occur in the opera. It has been recorded before by Edo de Waart and the Netherlands Philharmonic Tristan Und Isolde: Orchestral Passion. It is instructive to consider the timings of that and the present recording. De Waart, not particularly noted for slow tempi, takes about 67 minutes for the work; Neeme Järvi, on this recording, takes about 52 minutes. And it shows. I've never heard such fast tempi in Tristan. The Prelude almost sounds like a joke it goes so fast. But that pretty much is true for much of the rest of the performance. Further, even though the tempi are fast there is little spark in the playing, little energy. It all seems very flat and uninflected. Further, the recorded sound is nothing special, even in SACD. One can tell that de Vlieger did a good job of pasting bits of Tristan together in a musically logical fashion, but obviously I didn't like the recording much and cannot give it a recommendation.
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Initial post: 31 Dec 2012 08:06:24 GMT
Mr. T. Y. W. Kent says:
I think that this series has run its course. The Ring is admirably suited for an orchestral synthesis because of the significance of the orchestra. Parsifal is a maybe. The rest not really as they are singers' operas - Tristan above all. Strauss (Richard not Johann) seems more promising. OK Rosenkav. has been plundered. not so with Salome, Elektra, Die Frau or Friedenstag for example. Maybe not Arabella, Ariadne or Capriccio but Strauss was a consummate writer for the orchestra. If Pauline had not constantly nagged for more operas and songs (for herself of course) I think that there would have been much more than Alpensinfonie and Domestica to follow Heldenleben.
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