Wagner Tannhäuser
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Genre:
Opera
Label: EMI
Magazine Review Date: 11/1985
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 747296-8
Tracks:
Composition | Artist Credit |
---|---|
Tannhäuser |
Richard Wagner, Composer
Bavarian Radio Chorus Bavarian Radio Symphony Orchestra Bernard Haitink, Conductor Bernd Weikl, Wolfram, Baritone Donald Litaker, Heinrich, Tenor Gabriele Sima, Shepherd, Soprano Klaus König, Tannhäuser, Tenor Kurt Moll, Hermann, Bass Lucia Popp, Elisabeth, Soprano Rainer Scholze, Reinmar, Bass Richard Wagner, Composer Siegfried Jerusalem, Walther, Tenor Walton Grönroos, Biterolf, Bass Waltraud Meier, Venus, Soprano |
Composer or Director: Richard Wagner
Genre:
Opera
Label: Decca
Magazine Review Date: 2/1986
Media Format: CD or Download
Media Runtime: 0
Mastering:
ADD
Catalogue Number: 414 581-2DH3
Tracks:
Composition | Artist Credit |
---|---|
Tannhäuser |
Richard Wagner, Composer
Christa Ludwig, Venus, Soprano Georg Solti, Conductor Hans Sotin, Hermann, Bass Helga Dernesch, Elisabeth, Soprano Kurt Equiluz, Heinrich, Tenor Manfred Jungwirth, Biterolf, Bass Norman Bailey, Reinmar, Bass René Kollo, Tannhäuser, Tenor Richard Wagner, Composer Victor Braun, Wolfram, Baritone Vienna Boys' Choir Vienna Philharmonic Orchestra Vienna State Opera Chorus Werner Hollweg, Walther, Tenor |
Author: Alan Blyth
The set has much to offer in other respects. Ray Minshull makes clear in his introductory note that technical devices were employed to suggest the choral movement. Both that and the placing of the soloists in relation to the orchestra are heard to even greater advantage in the new medium. The sound is very immediate and full. Comparison with the HMV points up the perennial differences between the two companies in recording method: with Decca the orchestra achieves equal prominence with the singers, with HMV it is more backward, slimmer in sound, more closely following a theatre acoustic. The point is made even more manifest here, because the conductors take very different views of the score. Even allowing for the fact that Haitink prefers the original Dresden version, his reading is much lighter, more Mendelssohnian, more linear than Solti's; which thrusts the work forward to the world of the music-dramas of later years, alive to every turn in the music. If you listen just to the Prelude to Act 2 you will immediately grasp the contrast.
In the following Greeting to the Hall of Song, you will find another difference. Dernesch has a truly Wagnerian voice, but beside Popp's ecstatic utterance, Dernesch seems a trifle stately and uninvolved (the ideal via media could be heard at Bayreuth this summer with Cheryl Studer's fine Elisabeth for Sinopoli). On the other hand, Haitink has the heavier Tannhauser, Konig sounding more ungainly, but more tortured than Kollo, whose sensitivity is spoilt by aspirates and some ungracious moments when he presses on his tone. I prefer Braun's elegant, stylish singing to Weikl's slightly more effortful contribution. Both Langraves are excellent.
Choice will depend on what you want from your Tannhauser. At the moment I lean towards the Decca. The Paris edition, and its magnificent execution here, seem a more interesting experience than Haitink's worthy but trifle pallid reading, but if you want the Dresden original, he makes out a good case for it.'
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