One great scene after another. Dynamic conducting from Solti, so much better than in a live performance I saw years ago with this cast, except Vickers was the Tristan and Ludwig the Brangane.
But the tristan here is lit, yes, but vibrant and declaims very well, and this is what Wagner's tenors have to do well..come up out of nowhere vocally and hold forth all of a sudden. Uhl does this very well, and of course Nilsson is always on the mark.
The style of Tristan and Isolde has so much in its inner working melodies that hearken back to bel canto and Donizetti and Bellini in particular.The Bellini/ Wagner connection is well known, but the Donizetti one overlooked often. But examine the difficult operas of Donizetti, Gemma de Vergy, Maria di Rohan, La Favorita, Anna Bolena, and you see, especially in Gemma de Vergy, the kind of declamatory vocal demands that Wagner will lay down continually in his scores along with other demands. I think Uhl in this recording is up to the task in ways other held en tenors are not.
The mad pacing of the Donizetti score in Gemma, e.g., is so like the opening of Tristan, with both Isolde and Tristan flaying each oither and themselves with wave upon wave of heavy orchestration without let up, unceasing, like their love. Solti lets the orchestra loose and the results are electrifying. None of that holding back, then sudden pushing forward we get with other less brave maestros. Solti achieves similar sonic effects in his Aida with Vickers and Price at the climax..O Patria quanto mi costi etc., with the orchestra behind Aida closing in on her, demanding that she become the principle instrument in the orchestra. This kind of challenge os course runs all through Wagner's Tristan und Isolde, and it comes out of nel canto, resurfaces all the time in Verdi, and in early Wagner is a staple, one that he never lets go of.
Why do so few tenors even look at the score of Tannhauser? The pounding, high tessitura, declamatory vocal phraseology is rampant throughout.
This is why Domingo passed it up in terms of performing i live, the same reason he walked out of Les Troyens, Ernani at La Scala, and Gemma de Vergy in Paris..too much, but Uhl in this recording gets there, not always great, but he knows the obstacles and utilizes his bel canto training to
very great effect. Few tenors who essay Tristan do this. Peter Hoffman with Behrens comes to mind, Domingo with Nina Stemme, and Vickers most assuredly.
Missing on this set are the candid thoughts of Solti and the cast on the opera. It as once included on a separate disc along with the music. One wonders what happened to them. Solti at one point states that "Wagner never heard it like this!!" With Nilsson..he never heard it!
- Audio-cd (1 januari 1970)
- Aantal schijven: 1
- Label: Walhall
- ASIN: B005TC8Y48
- Klantenrecensies: 20 klantbeoordelingen
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