Wagner: Tristan und Isolde by Wilhelm Furtwängler (2023 Remastered, Studio 1953) ***Listen to our latest mastering update (2023)*** : bit.ly/43uyYFI 🎧 Qobuz bit.ly/45QPGAn Apple Music apple.co/3WZXxYD 🎧 Amazon Music amzn.to/3WTf6JE Tidal bit.ly/3J4IHKv 🎧 Deezer bit.ly/3CgCnvz Spotify spoti.fi/3J1JQ5H 🎧 SoundCloud - TH-cam Music bit.ly/3CgXgHe 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... Wilhelm Richard Wagner (1813-1883) - Tristan und Isolde : Romantic Opera in Three Acts Click to activate the English subtitles for the presentation (00:00-06:30) Act 1 Prelude (00:01) Westwarts Schweift Der Blick (11:01) Frisch Weht Der Wind Der Heimat Zu (17:34) Weh, Ach Wehe! Dies Zu Dulden! (27:43) Wie Lachend Sie Mir Lieder Singen (29:43) Auf! Auf! Ihr Frauen! (49:23) Begehrt, Herrin, Was Ihr Wünscht (59:42) War Morold Dir So Wert (1:07:02) Act 2 Prelude (1:25:39) Horst Du Sie Noch (1:28:30) Isolde! Geliebte!...Tristan! Geliebter! (1:42:22) O Sink Hernieder, Nacht Der Liebe (2:01:06) Einsam, Wachend In Der Nacht (2:06:39) Doch, Unsre Liebe, Heisst Sie Nicht Tristan… (2:15:14) Rette Dich, Tristan! (2:26:44) Tatest Du's Wirklich (2:28:48) Act 3 Prelude (2:52:38) Kurwenal! He! Sag' Kurwenal! (3:00:16) Wo Ich Erwacht, Weilt' Ich Nicht (3:11:33) Noch Losch Das Licht Nicht Aus (3:19:35) O Diese Sonne! (3:48:45) Ich Bin's Ich Bin’s (3:52:22) Kurwenal! Hor! Ein Zweite Schiff (3:59:00) Mild Und Leise Wie Er Lachelt - Isoldes Liebestod (4:08:36) Tristan : Ludwig Suthaus Isolde : Kirsten Flagstad Brangäne : Blanche Thebom König Marke : Josef Greindl Kurwenal : Dietrich Fischer-Dieskau Seemann : Rudolf Schock Hirt : Rudolf Schock Melot : Edgar Evans Steuermann : Rhoderick Davies Chorus of the Royal Opera House, Coven Garden Chorus Master : Douglas Robinson Philharmonia orchestra WILHELM FURTWÄNGLER Recorded in 1952 New mastering in 2017 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Réalisé en 1952, l'enregistrement du Tristan de Furtwängler est considéré comme un monument dans l’histoire des enregistrements. Aujourd'hui encore il représente incontestablement quelque chose d'unique. Mais parfois, secrètement on se demande si le souvenir n'embellit pas, si la légende ne couvre pas la réalité. Nos goûts ne changent-ils pas de jour en jour, et avec eux nos échelles des valeurs? Ne nous arrive-t-il pas de remettre en cause ce qu'hier encore nous aimions? L'excès de sentiment par exemple. Par ailleurs, les progrès des techniques du son nous ont rendus plus exigeants, et peut-être un peu sourds à l'audition des enregistrements anciens. Mais voilà qu'après nous être plongés pendant plus de cinq heures dans la partition, nous mesurons tout-à-coup à quel point ces "progrès" sont peu de chose: des la première mesure, la direction de Furtwängler, ample et structurée, s'impose à nous par sa grandeur. Elle nous entraine avec lui au point de nous faire totalement oublier les petites imperfections de la mono. Après tout, il y a même un certain charme à ce retour au son "natural" après tous les maquillages et les artifices qui ont suivi. Peut-on s'offusquer du célèbre "Ut" qu'Elisabeth Schwarzkopf dût chanter à la place de Kirsten Flagstad pour pallier à une défaillance de celle-ci? Honnêtement non, car cette petite tricherie n'est rien auprès des "manipulations" aujourd'hui courantes et parfaitement admises. Tout cela est bien secondaire. Il en est de même pour l'orchestre. Le Philharmonia Orchestra, qui n'a aucune expérience wagnérienne n'a certes pas dans ce répertoire le son de la Philharmonie de Berlin ail de Vienne. Mais ce que Furtwängler obtient est d'une telle qualité musicale que cette objection n'a plus aucun poids. Il en de même pour l'Orchestre de la RAI dans l'enregistrement du Ring. Nous considérons que cet enregistrement du Ring est indispensable à toute discothèque, du moins si le collectionneur attache plus d'importance à la réalisation musicale qu'à sa technique d'enregistrement quadriphonique. Le trait le plus fascinant de cet enregistrement du Tristan est certainement sa formidable unité : Loin de s'attacher à l'excès à la perfection du détail, Furtwängler ne perds jamais de vue l'ensemble de l'oeuvre: témoin la belle tension des courbes et façon dont les parties sont reliées. Une chose encore: à aucun moment on n'éprouve le besoin de discuter l'interprétation de l'un ou l'autre passage, tant Furtwängler était sûr de ce qu'il voulait, tant sa direction nous entraine et nous convainc. Son sens de la musique ne s'est jamais laissé prendre au piège de l'esthétisme. Elle s'embrase, brûle, flambe sans artifice. Il est impensable pour Furtwängler de s'arrêter à un "beau polissage". Par contre, les grandes progressions et les points culminants ont une force dramatique incomparable. On peut regretter qu'il n'y ait pas davantage d'enregistrements pour témoigner de la classe de ce très grand artiste, et en même temps de son évolution. Pour Wagner en particulier, elle s'est déroulée de façon lente et constante. Si l'on compare, par exemple, les deux fragments de Tristan enregistrés en 1928, et l'enregistrement complet réalisé près d'un quart de siècle plus tard, on voit, à une seule exception près, à quel point les tempos ont pris de l'ampleur. Le meilleur exemple en est certainement la Mort d'Isolde. Mais Furtwängler a toujours animé les mesures les plus larges de souffle et de tension; les tempos correspondent toujours parfaitement, même si dans ce passage instrumental de la Mort d'Isolde, il est aidé par le fait qu'il n'a pas de chanteur à accompagner. L'accompagnement, précisément l'accord avec les chanteurs était pour Furtwängler d'une importance capitale. C'est d'ailleurs ce qui explique entièrement l'accentuation des mots dans ses interprétations. Il est difficile de parler d'une distribution idéale dans le cas de cette version de 1952. Le choix du héros paraît une solution de misère si on le compare à ceux qui l'ont précédé dans le rôle pour l’héroïne, les sommets de sa condition vocale appartenaient à l'époque déjà au passé. Mais où trouver aujourd'hui une distribution comparable à Ludwig Suthaus et Kirsten Flagstad? Où trouver une Roi Marke dont l'élocution soit aussi parfaite que celle de Joseph Greindl, et où chercher un Kurwenal aussi magnifiquement doué que Dietrich Fischer-Dieskau? Ce grand maitre de la discipline du chant avait certes déjà à l'époque du mal à s'extérioriser, mais la voix était pleine et souple. Blanche Thebom, Rudolf Schock et Edgar Evans ne sont peut-être pas les références absolues dans leurs rôles respectifs, mais est-il vraiment nécessaire de prendre par le détail un ensemble dont le caractère exceptionnel tient avant tout à sa puissante unité?
« C'est dans la Mort que l'Amour est le plus doux. Pour l'homme qui aime, la Mort est une nuit nuptiale », écrit Novalis dans ses Hymnes à la Nuit, inspirateurs de Wagner : c'est dans cet entrelacs métaphysique de la Mort et de l'Amour, et dans le réseau des métaphores qui jouent de la Nuit et du Jour, que se lève Tristan, que se lève Isolde, qu'ils se nouent, qu'ils s'annulent : qu'ils s'aiment. C'est à cet indiscernable moment de passage, quand la nuit à peine rosie passe au jour, ou quand le jour gonflé d'ombre vire à la nuit, qu'il faut tenter de saisir cette œuvre unique et fascinante. C'est dire qu'il faut s'y éprouver au temps, à la durée, aux rythmes du rêve et de l'oubli, au battement du désir et à la perte. Le 29 septembre 1857, à Venise, au moment où il compose le Prélude de Tristan et Isolde, Wagner écrit son Journal : « Après le coucher du soleil, je suis allé en gondole vers le Lido, à la rencontre de la lune. e combat entre le jour et la nuit offre toujours un merveilleux spectacle sous u ciel pur... » Deux ans plus tard, à Lucerne, il achève le dernier acte et écrit à Mathilde Wesendonck, l'inspiratrice : « Tristan devient quelque chose de terrible! Ce dernier acte !... J'ai peur qu'on interdise mon opéra, sauf si de mauvaises représentations en donnent une parodie. Elles seules lui assureront la vie sauve. Car si elles étaient parfaitement bonnes, les gens deviendraient fous... » Il y a certainement de cette folie dans cet enregistrement, c’est de cet autre monde qu'on aperçoit, dans l'hallucinante extase finale de la mort d'Isolde par Flagstad qui laisse simplement muet, suspendu, immobile. Richard Wagner PLAYLIST (reference recordings) th-cam.com/video/dzeNnoMmsjM/w-d-xo.html&index=1&list=PL3UZpQL9LIxMleWmzrxmYsjeUJ6MUdM3-
I wonder where I can acquire this remastering? It's a minute longer than the one I have (the official album), which has a few awkward skips toward the end and generally sounds slightly dimmer than this one.
Wagner's notion of oceanic feeling is no bogus: either you feel it, or you don't. In Furtwaengler's interpretation, the waves really lap at the listener's heart.
This recording was my first introduction to Tristan and my first introduction to Flagstad. I've not heard anything like it since. I never tire of listening to this recording. Truly a remarkable performance and recording.
Clark. I just read your message about the Flagstad/Furtwangler TRISTAN UND ISOLDE from two years ago. I first heard it sometime in the middle 1960s and it is my favorite among so many available Tristans. I had previously heard the Nilsson/Solti Tristan, I prefer the Nilsson/Bohm from a few years later. But Nilsson must be heard by any contemporary Wagnerite: she set a standard for a whole century. But even in old age, Flagstsd is my beloved Isolde. She conveys the passion, the overwhelming passion of this transcendent LOVE. And her voice still possesses the charm and delight of a much younger woman. But by Act III Tristan doesn't need a lover, he needs a nurse, a healer of soul as well as body. And that is Isolde who has been initiated into magical healing arts. But Tristan doesn't want or need those: he wants to cross the threshold of life/death, and find a world more responsive to amorous needs, a passage way or an ascent to some other PLACE than the contingent bias of our mortal lives. Both lovers place their hopes that the World of Death will answer their needs. But why would the World of Death grant them an extension of human life? Both have a tenuous confidence in an erotic relationship or perhaps something higher, more spiritual, since they no inhabit physical bodies. I have never believed they find that privileged extension of human life, with its sexuality intact. But Wagner never claimed to penetrate the Mystery of Death with human knowledge, he is presenting the possibilities as the two lovers imagine them. or blindly hope. But I am moved by one person's comment one this page. He says of the opera (music-drama) involves "Human desires traveling across the cosmos." Thank you, Oscar! That's simply splendid.And thank you, Clark, for triggering these thoughts.
Just started listening to this opera. Appreciate the comment and the replies. This recording does seem astounding. The voice of the soprano lead has so much depth!
Superb in every note. I can listen to Tristan every day and never tire of it. What is it about Wagner that no other composer can come close to? Furtwangler's interpretation is unequalled and you feel his heart and soul in his conducting and love for this masterpiece.
Richard, I agree with your absolute praise for this recording. I'm listening to it now as I type this message. Wagner's music drama transcends other "love" stories being rooted in Romantic Mysticism. To my way of thinking about this opera it cannot be exhausted; furthermore, it takes speculation about life after death to the very edge of things. Only revelation or direct experience could reveal more. So in this time frame in which in which many simply do not believe in a category of existence which transcends mortality, Wagner gives us a Vision we can stretch in the direction of Tristan's hard earned faith in a life beyond the mortal, or reduce it to a noble but futile exercise of hope against oblivion. // The Wagner that I can listen to daily is not TRISTAN (a big part of me does not want to admit this); the opera par excellence for me is PARSIFAL. I love intensely every moment of that modern-day Mystery Theater, especially that half hour spread from Gurnemanz regognizing the sacred spear through Parsifal's anoiting as Grail King and his first act to baptize Kundry culminating in that beautiful monologue by Gurnemanz on the Good Friday Spell. This is my view of the Spiritual in Music. It occupies the same exalted place of reverance as Bach's B minor Mass, Monteverdi's Vespers of 1610, Beethoven's Missa Solemnis, Messiaen's St. Francis and Mahler's 2nd and 8th Symphonies. There you have it, my road to Heaven involves the appreciation of that music, which will "sing me to my rest," as Shakespeare describes Hamlet's post-mortem life.
Never ever want to touch Wagner's greatness, but Beethoven is the supreme eternal gift that's given to humanity, and I think even Wagner will agree on this.
Daniel Brick Thanks so much for thoughtful reply. I totally agree with you especially on the Parsifal. It was dream to attend a performance in Bayreuth of Parsifal in 2018 and it was as life changing as I knew it would be. To go through life hearing Parsifal on CD and then discover it in person in the theater he created it for was a religious experience for me. All lovers of this music drama must hear it at least once in their life in Bayreuth in person with an audience of other devotees , sitting in the dark and the heat of the auditorium in summer and feel the sound waves cascade over you.
Wunderschöne und spannende Aufführung dieser großartigen und romantischen Oper mit gut harmonisierten und perfekt synchronisierten Tönen aller Instrumente sowie herrlichen Stimmen aller genialen Solisten und perfekt vereinigten Stimmen des ausgezeichneten Chors. Der unvergleichliche Maestro dirigiert das ausgezeichnete Orchester im inspirierenden Tempo und mit dramatischer Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine originale Aufnahme von fünfundsechzig Jahre vor zur Zeit des Onlinestellens. Bestimmt eine der zehn besten Aufführungen dieses Meisterwerks im 20. Jahrhundert!
Wonderful excerpts to discover the work : Prelude (00:01) Prelude (1:25:39) Isolde! Geliebte!...Tristan! Geliebter! (1:42:22) O Sink Hernieder, Nacht Der Liebe (2:01:06) Einsam, Wachend In Der Nacht (2:06:39) Prelude (2:52:38) Kurwenal! He! Sag' Kurwenal! (3:00:16) Noch Losch Das Licht Nicht Aus (3:19:35) - (3:25:20) - (3:38:16) - (3:43:22) Ich Bin's Ich Bin’s (3:52:22) Mild Und Leise Wie Er Lachelt - Isoldes Liebestod (4:08:36)
I absolutely adore 'einsam, wachend in der nacht', otherwise called 'Brangäne's warning'. It is some of the most sublime music Wagner, yet alone any composer, wrote. It never fails to send shivers down my spine.
Juan Richart Ruiz well put. We are nowadays too caught up in the timely and superficial and Wagner’s greatest productions are the opposite. They are timeless.
Nowadays, the music takes second or third place behind too many undeserving prime donne and talentless producers who want to make a name for themselves. Strange that the trend started in Wagner's own country, after the war. I believe the country is guilt ridden and wants to break away with the past.
I have owned this recording since it first came out on LP and then again when it was reissued on CD. I have other versions as well since it has been my favorite opera/music drama since age eleven. It is still the reference performance for me. Who could assemble a cast and conductor of this magnitude today. In 1949 Flagstad did a concert version with the Chicago Symphony under Rodzinski that subsequently ended his career with the CSO in that city. Then in the 50s I saw him conduct it with Nilson at Lyric Opera of Chicago in a memorable performance.
Rodzinski wanted to use the Chicago Symphony for both symphony and opera in Chicago the way the Vienna Philharmonic performs opera as the Vienna State Opera Orchestra. The board of the CSO rejected that concept and forced Rodzinski to leave.
@@robertpalmer888 In Vienna it's the other way around: the Opera Orchestra plays symphonic music as the Philharmonic. The opera is the "parent" as it were. Though they have a degree of independence, since the Phil is a private's club made of members of the Opera Orchestra. Until recently it was a mens club, but they have finally grown up and have increasing numbers of women playing with them.
This recording and performance just never gets old. It sounds as if it were recorded yesterday. I just wish that this style of conducting and singing were still fashionable today. It is poignant to think that we will probably never have this kind/type of opera performance ever again. 2:01:01 - 2:26:45: Perfection by composer and performers.
The combination of Furtwangler's uncanny ability to transcend the dictatorship of the beat and Wagner's echo effects/imitations/transpositions in the name of romantic love are priceless. Thank you for this experience!
I have been listening to this recording of Tristan since 1969 - there is something so special about this recording. Flagstad is overwhelming. The conducting without equal.I know Nilsson had better high notes - but none of the beauty, legato of the entire span of the voice. The few people left who heard her in live performances - said the voice was an overwhelming type quality - large full sound. Even Nilsson described her voice like an "Organ."
At the time, in the 1950s/early 60s technology didn't really allow for capturing a BIG voice so that you really felt it flooding out into the sonic image with its full glow, something Birgit Nilsson has pointed out too.
This was my first complete hearing of TRISTAN and it's the recording I keep returning to. Ludwig Suthaus has the heroic voice needed for Tristan, and Furtwangler creates a marvelous House of Sound in which the singers flourish. But this recording id Flagstad's triumph: Despite her advanced age, she sings like a young woman experiencing a surrender to a Love that is larger her self, that transforms her into a new type of human being, totally committed to this human love. Tristan commits suicide by ripping off his bandages and letting his blood drain from his body. But he is in a state of ecstasy. Isolde does not make any action to hasten death; she just slips away also in a state of ecstasy. But do the lovers find a kind of Elysian Fields for an eternity of two? Are their lives just snuffed out in oblivion? Can the powerful passion they feel become even stronger after their physical deaths? Wagner does not tell us. He gives us the Mystery, and then the rest is silence," as Hamlet said.
If there is one recording that could rightfully be named *the* recording of the century, this is surely it. And your remastering has added a new dimension. Bravo!
I don’t think the recording of Tosca by Callas, Di Stefano, and Gobbi in 1953 under Victor De Sabata and the La Scala forces will ever be surpassed, no matter how great this recording is
Dark and ghostly, Furtwängler’s Tristan seems to have no beginning or ending. The “antique” recording gives it a pre-20th century feel which only adds to its supernatural beauty.
I could listen to Tristan all day too! I imagine myself playing all the clarinet parts. Oh, and I absolutely love this version of Einsam, Wachend In Der Nacht 2:06:39
From 1:45:30 to 1:56:15 there is the music of "The Big Cut", omitted for various reasons from most performances, except at Bayreuth. This recording gave many their first chance to hear it. Furtwangler later said that this audio version "serves the music as well as any stage performance...I was startled by the work's power." When he made this record, there were not dozens of competing Tristan's out there of course.
So today there are dozens of competing Tristans...any of them better than this one? I really would like to know because alas I never heard anyone even close.
@@4980cbs The Karajan Studio with Jon Vickers as Tristan just might be my favorite. It's not on youtube, but in my opinion, Jon Vickers puts every other Tristan to shame(Including Lauritz Melchior and Max Lorenz). Jon Vickers's anguished performance of the 3rd act monologues is unforgettable. (The first time I listened to Vickers sing it, I felt very unsettled until I listened to the Liebestod as it was so much more intense than any other rendition of those monologues) Another one to check out is the Böhm 1967 with Birgit Nilsson and Wolfgang Windgassen. Böhm rushes through the score with a great level of excitement, though no recording reaches the wonderful lyrical beauty of the Furtwängler. I think these three should make a good trio of "modern" Tristan recordings to listen to if you want to look into more. The Love duet from the Karajan is on youtube: th-cam.com/video/rB_tU5sBpBQ/w-d-xo.html Jon Vickers singing Tristan(from the Karajan recording): th-cam.com/video/ktllQ6_puEE/w-d-xo.html
The 1950 live performance from Munich with Hans Knappertsbusch conducting is the earliest available performance that is absolutely complete, and I prefer his conducting. And Flagstad left several live recordings in which she was in fresher voice, especially a 1936 Covent Garden Garden performance conducted by Fritz Reiner.
Escuchar Tristan und Isolde es entrar en un estado distinto; es un caso, como pocos, en el cual no puedo hablar de una simple "escucha", es algo más. Es una modalidad que me embriaga y permanece en mí durante largo tiempo, que no deja de dar vueltas en mi alma hasta que escucho las ultimas notas del "Liebestod". Solo así puedo dar cierre a este plano musical donde cada nota es de una nobleza indescriptible, de un sentido dramático y emocional que hace de esta opera un fenómeno artístico en si mismo.
Der grosse Pianist Claudio Arrau bemerkte über diese Tristan Aufnahme unter Furtwängler: " Wird man jemals wieder eine solche Musik zu hören bekommen." Dem möchte ich mich anschliessen.
I can't help but come here to thank you kindly for posting this and so many other marvels at youtube. Listening to this drama in this performance in it's entirety in one night has been one of the most powerful and ecstatic musical experiences in my life so far. Thank you very much!! :)
for many commentators it is just an occasion to express enthousiam. None of them thinks of Richard Wagner. The degree of double personnality is astonishing . That is the secret of its work.
I don’t normally do this, but I respect so much the listener community on this wonderful channel. My son is an aspiring musician and we would very much welcome your recommendations for up and coming Wagner festival performances. Very grateful and with much appreciation.
Esecuzione che è ancora in cima alle preferenze È stata studiata da tanti che sono venuti dopo ma il fascino,la sensualità, il senso di morte dell'ultimo atto è difficilmente raggiungibile
I just remembering that I used to have this CD, without regocnizing that time back the greatness of Flagstad and Sudhaus. I am wagnerianerreferring to Nietzsche! Maybe I was to young to understand! This year I discovered Falgstad for me as the greatest wagner soprano ever and Furtwängler as an outstanding conductor! Thank you for loading up this recording. and a very nice CD Cover!
The Life .... He gives us Music, like a balm for the Soul ..... And WAGNER comes ... and moves the floor with this Composition .. SPECTACULAR .... ¡.And as Gold brooch .... A Director and Interpreters like these .. ¡¡¡¡
Pero desgraciadamente no libre de propagandas que ignoro el por qué no están en los silencios musicales? Porqué interrumpen la música? ( con una falta de respeto total!)
I’ve always found this EMI recording ‘hard’ and a difficult listen, hence it’s not been embraced as it should. Your remastering gives it new life for me, making one wonder why an international company with its resources cannot enhance the original tapes…thank you and well done Sir! Also, in time, is there a role for AI to enhance old recordings?
Sin duda la mejor interpretación que se haya hecho de esta opera. Sólo W Furtwangler pudo lograr esta perfecta y excelentisma interpretación Gracias por subir esta versión impecablemente remasterizada.
Que des superlatifs ! Tout est beau: les interprètes, le chœur, l'orchestre et le chef ( et même la pochette !). Je me souviens la première fois où j'ai entendu Kirsten Flagstad c'était dans Didon ( un disque "référence" chez Emi). J'avais immédiatement aimé cette voix.
This re-master is stupendous. Anyone who loves this recording owes this uploader a debt of gratitude. (Dare we hope for Knappertsbusch's studio "Meistersinger"?)
Herbert von Karajan's Studio rendition is also well worth hearing. Jon Vickers is perhaps the most intense Tristan on record. His rendition of the 3rd act monologues are particularly powerful(comparable to 3:25:20 in the Furtwängler): th-cam.com/video/ktllQ6_puEE/w-d-xo.html
Are you talking about the Warner Classics recording of Jon Vickers, Helga Dernesch, Christa Ludwig and Karajan with Berliner Philharmonic? If yes...Honestly I truly don’t know which one to choose, Karajan’s recording or this one!!! They are both sublime!!!
🎹 Furtwangler creates the torrent of sound that Wagner wanted, without ever rushing the climactic moments, like the final 10 minutes of act 1. He is fully in control of his orchestra. All of the other conductors rush the big moments, like the climax of the love duet. Furtwangler Never does this. 🎹
Isolde is running at the very beginning. Suthaus is great, rwally, but Furtwängler and Flagstadt are not reached until now, unbelievable conudcting and singing. Schwarzkopf sings a few high notes in this recording, but Flagstadt´s noble golden tone is really great and admirable
when I was a baby, I listened to this heart-breaking and divine performance in The Bayreuth Festspielhaus, it was a one way trip to Paradise, Unbewuszt, Höchste Lust, I fell in love with Kristen, so sad she committed suicide, as I cannot marry Isolde any longer I no live in the solitude of a Benedictine monastery, long live Meister Furtwängler
12:09, prima frase Isotta 18:18, Mir erkoren, Isolde 18:37, TodTodgeweihtes Haupt! Todgeweihtes Herz! 1:42:22, Isolde! Geliebte!...Tristan! Geliebter! 1:45:39, Dem Tage! Dem Tage! 1:54:53, O Heil dem Tranke! 2:00:48, O Sink Hernieder, Nacht Der Liebe 2:03:35, Barg im Busen 2:05:34,Liebe-heiligstes Leben, 2:06:01, Niewiedererwachens wahnlos hold bewusster Wunsch. 2:06:34, Habens Acht, Brangena 2:06:39, Einsam, Wachend In Der Nacht 2:10:40, Lausch, Gelibter 2:17:43, So sterben wir 2:21:10, Soll ich lauschen, p. 45 libretto pdf 2:23:02, O ew‘ge Nacht Rette Dich, Tristan! (2:26:44), p. 47 2:45:23, Dem Land, das Tristan meint 2:48:19, Nun führst du in dein Eigen (strofa parallela della precedente, ma canta Isotta) 3:21:56, ? 3:49:35, Mit blutender Wunde
Wagner: Tristan und Isolde by Wilhelm Furtwängler (2023 Remastered, Studio 1953)
***Listen to our latest mastering update (2023)*** : bit.ly/43uyYFI
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Wilhelm Richard Wagner (1813-1883) - Tristan und Isolde : Romantic Opera in Three Acts
Click to activate the English subtitles for the presentation (00:00-06:30)
Act 1
Prelude (00:01)
Westwarts Schweift Der Blick (11:01)
Frisch Weht Der Wind Der Heimat Zu (17:34)
Weh, Ach Wehe! Dies Zu Dulden! (27:43)
Wie Lachend Sie Mir Lieder Singen (29:43)
Auf! Auf! Ihr Frauen! (49:23)
Begehrt, Herrin, Was Ihr Wünscht (59:42)
War Morold Dir So Wert (1:07:02)
Act 2
Prelude (1:25:39)
Horst Du Sie Noch (1:28:30)
Isolde! Geliebte!...Tristan! Geliebter! (1:42:22)
O Sink Hernieder, Nacht Der Liebe (2:01:06)
Einsam, Wachend In Der Nacht (2:06:39)
Doch, Unsre Liebe, Heisst Sie Nicht Tristan… (2:15:14)
Rette Dich, Tristan! (2:26:44)
Tatest Du's Wirklich (2:28:48)
Act 3
Prelude (2:52:38)
Kurwenal! He! Sag' Kurwenal! (3:00:16)
Wo Ich Erwacht, Weilt' Ich Nicht (3:11:33)
Noch Losch Das Licht Nicht Aus (3:19:35)
O Diese Sonne! (3:48:45)
Ich Bin's Ich Bin’s (3:52:22)
Kurwenal! Hor! Ein Zweite Schiff (3:59:00)
Mild Und Leise Wie Er Lachelt - Isoldes Liebestod (4:08:36)
Tristan : Ludwig Suthaus
Isolde : Kirsten Flagstad
Brangäne : Blanche Thebom
König Marke : Josef Greindl
Kurwenal : Dietrich Fischer-Dieskau
Seemann : Rudolf Schock
Hirt : Rudolf Schock
Melot : Edgar Evans
Steuermann : Rhoderick Davies
Chorus of the Royal Opera House, Coven Garden
Chorus Master : Douglas Robinson
Philharmonia orchestra
WILHELM FURTWÄNGLER
Recorded in 1952
New mastering in 2017 by AB for CMRR
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Réalisé en 1952, l'enregistrement du Tristan de Furtwängler est considéré comme un monument dans l’histoire des enregistrements. Aujourd'hui encore il représente incontestablement quelque chose d'unique. Mais parfois, secrètement on se demande si le souvenir n'embellit pas, si la légende ne couvre pas la réalité. Nos goûts ne changent-ils pas de jour en jour, et avec eux nos échelles des valeurs? Ne nous arrive-t-il pas de remettre en cause ce qu'hier encore nous aimions? L'excès de sentiment par exemple. Par ailleurs, les progrès des techniques du son nous ont rendus plus exigeants, et peut-être un peu sourds à l'audition des enregistrements anciens.
Mais voilà qu'après nous être plongés pendant plus de cinq heures dans la partition, nous mesurons tout-à-coup à quel point ces "progrès" sont peu de chose: des la première mesure, la direction de Furtwängler, ample et structurée, s'impose à nous par sa grandeur. Elle nous entraine avec lui au point de nous faire totalement oublier les petites imperfections de la mono. Après tout, il y a même un certain charme à ce retour au son "natural" après tous les maquillages et les artifices qui ont suivi. Peut-on s'offusquer du célèbre "Ut" qu'Elisabeth Schwarzkopf dût chanter à la place de Kirsten Flagstad pour pallier à une défaillance de celle-ci? Honnêtement non, car cette petite tricherie n'est rien auprès des "manipulations" aujourd'hui courantes et parfaitement admises. Tout cela est bien secondaire.
Il en est de même pour l'orchestre. Le Philharmonia Orchestra, qui n'a aucune expérience wagnérienne n'a certes pas dans ce répertoire le son de la Philharmonie de Berlin ail de Vienne. Mais ce que Furtwängler obtient est d'une telle qualité musicale que cette objection n'a plus aucun poids. Il en de même pour l'Orchestre de la RAI dans l'enregistrement du Ring. Nous considérons que cet enregistrement du Ring est indispensable à toute discothèque, du moins si le collectionneur attache plus d'importance à la réalisation musicale qu'à sa technique d'enregistrement quadriphonique.
Le trait le plus fascinant de cet enregistrement du Tristan est certainement sa formidable unité : Loin de s'attacher à l'excès à la perfection du détail, Furtwängler ne perds jamais de vue l'ensemble de l'oeuvre: témoin la belle tension des courbes et façon dont les parties sont reliées. Une chose encore: à aucun moment on n'éprouve le besoin de discuter l'interprétation de l'un ou l'autre passage, tant Furtwängler était sûr de ce qu'il voulait, tant sa direction nous entraine et nous convainc. Son sens de la musique ne s'est jamais laissé prendre au piège de l'esthétisme. Elle s'embrase, brûle, flambe sans artifice. Il est impensable pour Furtwängler de s'arrêter à un "beau polissage". Par contre, les grandes progressions et les points culminants ont une force dramatique incomparable.
On peut regretter qu'il n'y ait pas davantage d'enregistrements pour témoigner de la classe de ce très grand artiste, et en même temps de son évolution. Pour Wagner en particulier, elle s'est déroulée de façon lente et constante. Si l'on compare, par exemple, les deux fragments de Tristan enregistrés en 1928, et l'enregistrement complet réalisé près d'un quart de siècle plus tard, on voit, à une seule exception près, à quel point les tempos ont pris de l'ampleur. Le meilleur exemple en est certainement la Mort d'Isolde. Mais Furtwängler a toujours animé les mesures les plus larges de souffle et de tension; les tempos correspondent toujours parfaitement, même si dans ce passage instrumental de la Mort d'Isolde, il est aidé par le fait qu'il n'a pas de chanteur à accompagner. L'accompagnement, précisément l'accord avec les chanteurs était pour Furtwängler d'une importance capitale. C'est d'ailleurs ce qui explique entièrement l'accentuation des mots dans ses interprétations.
Il est difficile de parler d'une distribution idéale dans le cas de cette version de 1952. Le choix du héros paraît une solution de misère si on le compare à ceux qui l'ont précédé dans le rôle pour l’héroïne, les sommets de sa condition vocale appartenaient à l'époque déjà au passé. Mais où trouver aujourd'hui une distribution comparable à Ludwig Suthaus et Kirsten Flagstad? Où trouver une Roi Marke dont l'élocution soit aussi parfaite que celle de Joseph Greindl, et où chercher un Kurwenal aussi magnifiquement doué que Dietrich Fischer-Dieskau? Ce grand maitre de la discipline du chant avait certes déjà à l'époque du mal à s'extérioriser, mais la voix était pleine et souple. Blanche Thebom, Rudolf Schock et Edgar Evans ne sont peut-être pas les références absolues dans leurs rôles respectifs, mais est-il vraiment nécessaire de prendre par le détail un ensemble dont le caractère exceptionnel tient avant tout à sa puissante unité?
« C'est dans la Mort que l'Amour est le plus doux. Pour l'homme qui aime, la Mort est une nuit nuptiale », écrit Novalis dans ses Hymnes à la Nuit, inspirateurs de Wagner : c'est dans cet entrelacs métaphysique de la Mort et de l'Amour, et dans le réseau des métaphores qui jouent de la Nuit et du Jour, que se lève Tristan, que se lève Isolde, qu'ils se nouent, qu'ils s'annulent : qu'ils s'aiment. C'est à cet indiscernable moment de passage, quand la nuit à peine rosie passe au jour, ou quand le jour gonflé d'ombre vire à la nuit, qu'il faut tenter de saisir cette œuvre unique et fascinante. C'est dire qu'il faut s'y éprouver au temps, à la durée, aux rythmes du rêve et de l'oubli, au battement du désir et à la perte.
Le 29 septembre 1857, à Venise, au moment où il compose le Prélude de Tristan et Isolde, Wagner écrit son Journal : « Après le coucher du soleil, je suis allé en gondole vers le Lido, à la rencontre de la lune. e combat entre le jour et la nuit offre toujours un merveilleux spectacle sous u ciel pur... » Deux ans plus tard, à Lucerne, il achève le dernier acte et écrit à Mathilde Wesendonck, l'inspiratrice : « Tristan devient quelque chose de terrible! Ce dernier acte !... J'ai peur qu'on interdise mon opéra, sauf si de mauvaises représentations en donnent une parodie. Elles seules lui assureront la vie sauve. Car si elles étaient parfaitement bonnes, les gens deviendraient fous... » Il y a certainement de cette folie dans cet enregistrement, c’est de cet autre monde qu'on aperçoit, dans l'hallucinante extase finale de la mort d'Isolde par Flagstad qui laisse simplement muet, suspendu, immobile.
Richard Wagner PLAYLIST (reference recordings)
th-cam.com/video/dzeNnoMmsjM/w-d-xo.html&index=1&list=PL3UZpQL9LIxMleWmzrxmYsjeUJ6MUdM3-
What is the beautiful part starting at 21:43? The melody, harmony, rhythm, and instrumentation … I wish it would go on much, much longer.
I wonder where I can acquire this remastering? It's a minute longer than the one I have (the official album), which has a few awkward skips toward the end and generally sounds slightly dimmer than this one.
Junge Hals Maul mit deinem Französisch wenn ich das schon höre
*justkiddin
The entire piece is a masterpiece but Act II is one of the most ingenious, momentous, and perfect sections of music ever created.
Just the opening bars overwhelm and Furtwangler never lets up. His baton stirs every subtlety of Wagner’s score. THE master interpreter.
Wagner's notion of oceanic feeling is no bogus: either you feel it, or you don't. In Furtwaengler's interpretation, the waves really lap at the listener's heart.
Second to none. An absolute mesmerising treasure. Thank you kindly for this.
2:07:08 This is divine, how does one right music like this???
This recording was my first introduction to Tristan and my first introduction to Flagstad. I've not heard anything like it since. I never tire of listening to this recording. Truly a remarkable performance and recording.
I SO agree. It's the interpretation against which I measure all others. No one understands the line and pacing of this score like Furtwangler.
Clark. I just read your message about the Flagstad/Furtwangler TRISTAN UND ISOLDE from two years ago. I first heard it sometime in the middle 1960s and it is my favorite among so many available Tristans. I had previously heard the Nilsson/Solti Tristan, I prefer the Nilsson/Bohm from a few years later. But Nilsson must be heard by any contemporary Wagnerite: she set a standard for a whole century.
But even in old age, Flagstsd is my beloved Isolde. She conveys the passion, the overwhelming passion of this transcendent LOVE. And her voice still possesses the charm and delight of a much younger woman. But by Act III Tristan doesn't need a lover, he needs a nurse, a healer of soul as well as body. And that is Isolde who has been initiated into magical healing arts. But Tristan doesn't want or need those: he wants to cross the threshold of life/death, and find a world more responsive to amorous needs, a passage way or an ascent to some other PLACE than the contingent bias of our mortal lives. Both lovers place their hopes that the World of Death will answer their needs. But why would the World of Death grant them an extension of human life? Both have a tenuous confidence in an erotic relationship or perhaps something higher,
more spiritual, since they no inhabit physical bodies. I have never believed they find that privileged extension of human life, with its sexuality intact. But Wagner never claimed to penetrate the Mystery of Death with human knowledge, he is presenting the possibilities as the two lovers imagine them. or blindly hope. But I am moved by one person's comment one this page. He says of the opera (music-drama) involves "Human desires traveling across the cosmos." Thank you, Oscar! That's simply splendid.And thank you, Clark, for triggering these thoughts.
Just started listening to this opera. Appreciate the comment and the replies. This recording does seem astounding. The voice of the soprano lead has so much depth!
Barenboim's Tristan und Isolde with Meier and Jerusalem is also nice.
Me too. When I was 15. Blew me away, as did his Don Giovanni when I was 12.
Fantastic conductor Wilhelm Furtwängler in my favorite Wagner opéra ! Just unbelievable !!! 👍👌😭
Superb in every note. I can listen to Tristan every day and never tire of it. What is it about Wagner that no other composer can come close to? Furtwangler's interpretation is unequalled and you feel his heart and soul in his conducting and love for this masterpiece.
Richard Allen Every day? My friend...how can your psyche survive?.Emotion would kill me,every time I listen Tristan i finish exhausted.
da Adriana. dal 1950 ascolto Furtwangler sono completamente d'accordo in maniera suprema
Richard, I agree with your absolute praise for this recording. I'm listening to it now as I type this message. Wagner's music drama transcends other "love" stories being rooted in Romantic Mysticism. To my way of thinking about this opera it cannot be exhausted; furthermore, it takes speculation about life after death to the very edge of things. Only revelation or direct experience could reveal more. So in this time frame in which in which many simply do not believe in a category of existence which transcends mortality, Wagner gives us a Vision we can stretch in the direction of Tristan's hard earned faith in a life beyond the mortal, or reduce it to a noble but futile exercise of hope against oblivion. //
The Wagner that I can listen to daily is not TRISTAN (a big part of me does not want to admit this); the opera par excellence for me is PARSIFAL. I love intensely every moment of that modern-day Mystery Theater, especially that half hour spread from Gurnemanz regognizing the sacred spear through Parsifal's anoiting as Grail King and his first act to baptize Kundry culminating in that beautiful monologue by
Gurnemanz on the Good Friday Spell. This is my view of the Spiritual in Music. It occupies the same exalted place of reverance as Bach's B minor Mass, Monteverdi's Vespers of 1610, Beethoven's Missa Solemnis, Messiaen's St. Francis and Mahler's 2nd and 8th Symphonies. There you have it, my road to Heaven involves the appreciation of that music, which will "sing me to my rest," as Shakespeare describes
Hamlet's post-mortem life.
Never ever want to touch Wagner's greatness, but Beethoven is the supreme eternal gift that's given to humanity, and I think even Wagner will agree on this.
Daniel Brick Thanks so much for thoughtful reply. I totally agree with you especially on the Parsifal. It was dream to attend a performance in Bayreuth of Parsifal in 2018 and it was as life changing as I knew it would be. To go through life hearing Parsifal on CD and then discover it in person in the theater he created it for was a religious experience for me. All lovers of this music drama must hear it at least once in their life in Bayreuth in person with an audience of other devotees , sitting in the dark and the heat of the auditorium in summer and feel the sound waves cascade over you.
Wunderschöne und spannende Aufführung dieser großartigen und romantischen Oper mit gut harmonisierten und perfekt synchronisierten Tönen aller Instrumente sowie herrlichen Stimmen aller genialen Solisten und perfekt vereinigten Stimmen des ausgezeichneten Chors. Der unvergleichliche Maestro dirigiert das ausgezeichnete Orchester im inspirierenden Tempo und mit dramatischer Dynamik. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine originale Aufnahme von fünfundsechzig Jahre vor zur Zeit des Onlinestellens. Bestimmt eine der zehn besten Aufführungen dieses Meisterwerks im 20. Jahrhundert!
Wonderful excerpts to discover the work :
Prelude (00:01)
Prelude (1:25:39)
Isolde! Geliebte!...Tristan! Geliebter! (1:42:22)
O Sink Hernieder, Nacht Der Liebe (2:01:06)
Einsam, Wachend In Der Nacht (2:06:39)
Prelude (2:52:38)
Kurwenal! He! Sag' Kurwenal! (3:00:16)
Noch Losch Das Licht Nicht Aus (3:19:35) - (3:25:20) - (3:38:16) - (3:43:22)
Ich Bin's Ich Bin’s (3:52:22)
Mild Und Leise Wie Er Lachelt - Isoldes Liebestod (4:08:36)
I absolutely adore 'einsam, wachend in der nacht', otherwise called 'Brangäne's warning'. It is some of the most sublime music Wagner, yet alone any composer, wrote. It never fails to send shivers down my spine.
You can do different. You can't do better. Ever
Well said.👌
We cannot create such great productions like this anymore.
Juan Richart Ruiz so true. Your comment gets to the heart of the issue.
teddy toto nobody will be like furtwangler or flagstad, it can't get better than this anymore.
Echoes of the past, when the giants were in this world.
Juan Richart Ruiz well put. We are nowadays too caught up in the timely and superficial and Wagner’s greatest productions are the opposite. They are timeless.
Nowadays, the music takes second or third place behind too many undeserving prime donne and talentless producers who want to make a name for themselves. Strange that the trend started in Wagner's own country, after the war. I believe the country is guilt ridden and wants to break away with the past.
@@Felipe.Taboada. Or Suthaus for that matter
I have owned this recording since it first came out on LP and then again when it was reissued on CD. I have other versions as well since it has been my favorite opera/music drama since age eleven. It is still the reference performance for me. Who could assemble a cast and conductor of this magnitude today. In 1949 Flagstad did a concert version with the Chicago Symphony under Rodzinski that subsequently ended his career with the CSO in that city. Then in the 50s I saw him conduct it with Nilson at Lyric Opera of Chicago in a memorable performance.
Rodzinski wanted to use the Chicago Symphony for both symphony and opera in Chicago the way the Vienna Philharmonic performs opera as the Vienna State Opera Orchestra. The board of the CSO rejected that concept and forced Rodzinski to leave.
@@robertpalmer888 In Vienna it's the other way around: the Opera Orchestra plays symphonic music as the Philharmonic. The opera is the "parent" as it were. Though they have a degree of independence, since the Phil is a private's club made of members of the Opera Orchestra. Until recently it was a mens club, but they have finally grown up and have increasing numbers of women playing with them.
@@robertpalmer888 tragedy thanks for explaining
SIMPLY THE BEST RECORDING OF THIS INCREDIBLE WORK !!!
Once you go Furtwängler you never go back. This is beyond perfection.
en mi pais, decimos: es un viaje de ida!
This recording and performance just never gets old. It sounds as if it were recorded yesterday. I just wish that this style of conducting and singing were still fashionable today. It is poignant to think that we will probably never have this kind/type of opera performance ever again. 2:01:01 - 2:26:45: Perfection by composer and performers.
We are of the opinion that the present time does not allow us to produce this kind of individual and direction.
@@classicalmusicreference what is the best modern recording of Tristan?
2:01:01 - 2:26:45: YES! Perfection.
Genuine ecstasy. Indescribable.
@@internetpolice6143 Kleiber with the Staatskapelle Dresden, M. Price as Isolde
Thanks for sharing , so excelent Mastering Work....Great Performance.
I saw dozens of Tristan and heard hundreds. I must say that this is PERFECTION! The second act is pure bliss.
The combination of Furtwangler's uncanny ability to transcend the dictatorship of the beat and Wagner's echo effects/imitations/transpositions in the name of romantic love are priceless. Thank you for this experience!
You're welcome :-)
Das ist brillante Musik . Deutsches Kulturgut.
I do love the Melchior, Flagstad, Reiner (1936), but heck, this is even greater.
Fantastic!! Incredible! Flagstad is supreme! Suthaus outstanding! I get chills listening to their duets...SUBLIME!!
Absolutely stunning !!
I have been listening to this recording of Tristan since 1969 - there is something so special about this recording. Flagstad is overwhelming. The conducting without equal.I know Nilsson had better high notes - but none of the beauty, legato of the entire span of the voice. The few people left who heard her in live performances - said the voice was an overwhelming type quality - large full sound. Even Nilsson described her voice like an "Organ."
Flagstad was no longer able to sing high notes. In this recording, Elisabeth Schwartzkopf sings those notes.
@@pierre-emmanuelansart3777 I thought that was for the Solti Rheingold Fricka.
@@pierre-emmanuelansart3777 so what
@@pierre-emmanuelansart3777 Shwartzkopf only sings the two high Cs in Act II, the rest is wholly Flagstad
At the time, in the 1950s/early 60s technology didn't really allow for capturing a BIG voice so that you really felt it flooding out into the sonic image with its full glow, something Birgit Nilsson has pointed out too.
Asombrosa restauración de esta soberbia grabación histórica de 1952!! Una maravilla. Muchas gracias.
🎹 This recording still remains an absolute marvel. It has no equal.
Toscanini is the greatest!!!
The best recording of Tristan ever bar none.
This Melody is a huge flood of expression and evokes intense emotions like hope in the new world that is coming.
Yes☮️
Einsam Wachend changed my musical life forever.
Who's Einsam Wachend?
Thomas Mann agrees. In his novella "Tristan," he characterized the rise of the violins at the end of Einsam Wachend as "higher than all rationality."
This was my first complete hearing of TRISTAN and it's the recording I keep returning to. Ludwig Suthaus has the heroic voice needed for Tristan, and Furtwangler creates a marvelous House of Sound in which the singers flourish. But this recording id Flagstad's triumph: Despite her advanced age, she sings like a young woman experiencing a surrender to a Love that is larger her self, that transforms her into a new type of human being, totally committed to
this human love. Tristan commits suicide by ripping off his bandages and letting his blood drain from his body. But he is in a state of ecstasy. Isolde does not make any action to hasten death; she just slips away also in a state of ecstasy. But do the lovers find a kind of Elysian Fields for an eternity of two?
Are their lives just snuffed out in oblivion? Can the powerful passion they feel become even stronger after their physical deaths? Wagner does not tell us. He gives us the Mystery, and then the rest is silence," as Hamlet said.
If there is one recording that could rightfully be named *the* recording of the century, this is surely it. And your remastering has added a new dimension. Bravo!
Thanks :)
Boris Godunov, Dobrowen conducting, Paris, 1949. The characterizations and timbres have not been surpassed. Hoomeyow!!
I don’t think the recording of Tosca by Callas, Di Stefano, and Gobbi in 1953 under Victor De Sabata and the La Scala forces will ever be surpassed, no matter how great this recording is
@@shayanmardanbeigi2697 You're comparing apples and oranges. Tristan is Tristan and Tosca is Tosca.
@@georgesclermont1911 The point of the OP was to not an unsurpassable recording. Their Tosca surpasses,, they claim.
Un grande monumento a Wagner e al suo Tristano!
One of the best recordings ever. No. 1, after all these decades, for 'Tristan'.
Toscanini is the greatest!
My favorite recording of this masterpiece
Dark and ghostly, Furtwängler’s Tristan seems to have no beginning or ending. The “antique” recording gives it a pre-20th century feel which only adds to its supernatural beauty.
Agreed
Una de las referencias absolutas del Tristan de todos los tiempos | sin duda alguna.
I could listen to Tristan all day too! I imagine myself playing all the clarinet parts. Oh, and I absolutely love this version of Einsam, Wachend In Der Nacht 2:06:39
Opio musical. Un lujo sonoro que nunca conocerá el ocaso. Bravo!
From 1:45:30 to 1:56:15 there is the music of "The Big Cut", omitted for various reasons from most performances, except at Bayreuth. This recording gave many their first chance to hear it. Furtwangler later said that this audio version "serves the music as well as any stage performance...I was startled by the work's power." When he made this record, there were not dozens of competing Tristan's out there of course.
So today there are dozens of competing Tristans...any of them better than this one? I really would like to know because alas I never heard anyone even close.
@@4980cbs The Karajan Studio with Jon Vickers as Tristan just might be my favorite. It's not on youtube, but in my opinion, Jon Vickers puts every other Tristan to shame(Including Lauritz Melchior and Max Lorenz). Jon Vickers's anguished performance of the 3rd act monologues is unforgettable. (The first time I listened to Vickers sing it, I felt very unsettled until I listened to the Liebestod as it was so much more intense than any other rendition of those monologues) Another one to check out is the Böhm 1967 with Birgit Nilsson and Wolfgang Windgassen. Böhm rushes through the score with a great level of excitement, though no recording reaches the wonderful lyrical beauty of the Furtwängler. I think these three should make a good trio of "modern" Tristan recordings to listen to if you want to look into more.
The Love duet from the Karajan is on youtube:
th-cam.com/video/rB_tU5sBpBQ/w-d-xo.html
Jon Vickers singing Tristan(from the Karajan recording):
th-cam.com/video/ktllQ6_puEE/w-d-xo.html
The 1950 live performance from Munich with Hans Knappertsbusch conducting is the earliest available performance that is absolutely complete, and I prefer his conducting. And Flagstad left several live recordings in which she was in fresher voice, especially a 1936 Covent Garden Garden performance conducted by Fritz Reiner.
Escuchar Tristan und Isolde es entrar en un estado distinto; es un caso, como pocos, en el cual no puedo hablar de una simple "escucha", es algo más. Es una modalidad que me embriaga y permanece en mí durante largo tiempo, que no deja de dar vueltas en mi alma hasta que escucho las ultimas notas del "Liebestod". Solo así puedo dar cierre a este plano musical donde cada nota es de una nobleza indescriptible, de un sentido dramático y emocional que hace de esta opera un fenómeno artístico en si mismo.
Magnifique ,quelle prestation bravo , merci
3:12:50 (Ich War) - The beginning of the quote. This is perhaps a variation on the Liebestod motive.
Der grosse Pianist Claudio Arrau bemerkte über diese Tristan Aufnahme unter Furtwängler: " Wird man jemals wieder eine solche Musik zu hören bekommen." Dem möchte ich mich anschliessen.
This is the miracle recording of Tristan thanks to Flagstad and Furtwangler...It takes you into another world...Unmatched
I can't help but come here to thank you kindly for posting this and so many other marvels at youtube. Listening to this drama in this performance in it's entirety in one night has been one of the most powerful and ecstatic musical experiences in my life so far. Thank you very much!! :)
for many commentators it is just an occasion to express enthousiam. None of them thinks of Richard Wagner. The degree of double personnality is astonishing . That is the secret of its work.
Now this is what I call quality singing.
I don’t normally do this, but I respect so much the listener community on this wonderful channel. My son is an aspiring musician and we would very much welcome your recommendations for up and coming Wagner festival performances.
Very grateful and with much appreciation.
Thanks Teddy. About Bayreuther Festspiele ?
Esecuzione che è ancora in cima alle preferenze
È stata studiata da tanti che sono venuti dopo ma il fascino,la sensualità, il senso di morte dell'ultimo atto è difficilmente raggiungibile
I didn't know the "Tristan Chord" was at the beginning of this opera! Learned something today.
A abertura dessa obra é a uma das mais belas já escritas... Linda, emocionante, destruidora, regeneradora...
I just remembering that I used to have this CD, without regocnizing that time back the greatness of Flagstad and Sudhaus. I am wagnerianerreferring to Nietzsche! Maybe I was to young to understand! This year I discovered Falgstad for me as the greatest wagner soprano ever and Furtwängler as an outstanding conductor!
Thank you for loading up this recording. and a very nice CD Cover!
Toscanini is the greatest!
The Life .... He gives us Music, like a balm for the Soul ..... And WAGNER comes ... and moves the floor with this Composition .. SPECTACULAR .... ¡.And as Gold brooch .... A Director and Interpreters like these .. ¡¡¡¡
Beautiful, thanks.
Flagstad´s golden tone is geat and Furtwängler´s conducting, great.
Superbly recorded.
Thanks, uploader. Truly magnificent.
You're welcome
Beautiful Opera. My favorite of Wagner's. Commercial free, even bettet!
Pero desgraciadamente no libre de propagandas que ignoro el por qué no están en los silencios musicales? Porqué interrumpen la música? ( con una falta de respeto total!)
This record took human effort, practice, knowledge, experience, emotions and then something else we don't know what it is yet...
Love
I’ve always found this EMI recording ‘hard’ and a difficult listen, hence it’s not been embraced as it should. Your remastering gives it new life for me, making one wonder why an international company with its resources cannot enhance the original tapes…thank you and well done Sir! Also, in time, is there a role for AI to enhance old recordings?
Thanks Fore Sharing I have On Lp Good Sound Thanks
Sin duda la mejor interpretación que se haya hecho de esta opera.
Sólo W Furtwangler pudo lograr esta perfecta y excelentisma interpretación
Gracias por subir esta versión impecablemente remasterizada.
Fantastic! ❤
SIMPLEMENTE MARAVILLOSO, GRACIAS
wahrscheinlich doch die beste interpretation dieses meisterwerkes!
Que des superlatifs ! Tout est beau: les interprètes, le chœur, l'orchestre et le chef ( et même la pochette !). Je me souviens la première fois où j'ai entendu Kirsten Flagstad c'était dans Didon ( un disque "référence" chez Emi). J'avais immédiatement aimé cette voix.
An unparalleled genius. Wagner, and a select few like him, are put here on earth to show all of us what a human being is capable of achieving.
I always wonder the secret of Furtwaengler's such grave intensity in tone even though he is considered one of those "literal" conductors.
Masterpiece! Thank you for sharing!
The milestone
This re-master is stupendous. Anyone who loves this recording owes this uploader a debt of gratitude. (Dare we hope for Knappertsbusch's studio "Meistersinger"?)
O que dizer diante desse abraço tão intenso, tão imenso.
Herbert von Karajan's Studio rendition is also well worth hearing. Jon Vickers is perhaps the most intense Tristan on record. His rendition of the 3rd act monologues are particularly powerful(comparable to 3:25:20 in the Furtwängler):
th-cam.com/video/ktllQ6_puEE/w-d-xo.html
Are you talking about the Warner Classics recording of Jon Vickers, Helga Dernesch, Christa Ludwig and Karajan with Berliner Philharmonic? If yes...Honestly I truly don’t know which one to choose, Karajan’s recording or this one!!! They are both sublime!!!
I agree with your comment on Vickers. I saw Tristan in '67 with Vickers, Nilsson and Forester. Hard to beat.
When I came home from over sea ‘s I would listen to HVK’s Tristan in the dark naked and drinking wine alone . It relaxed me . Agree about Vickers .
... da deliquio .... ! ! ! per davvero, ma per davvero tra le più grandi incisioni del secolo. Ribatto: da deliquio !
Thank You very Much - I never heared it in such brilliant quality. and thank you for the Tracklist.
Human desires traveling across the cosmos...
Sure does
Love is stronger than Death
Favoloso grazie
The true dreamcast. Most of the singers are in their prime. Even with Furtwängler; a listening standard for most Wagner lovers.
Unmatched recording.
So good! Thank you.
sublime recording …………………………………………………………………………...
🎹 Furtwangler creates the torrent of sound that Wagner wanted, without ever rushing the climactic moments, like the final 10 minutes of act 1. He is fully in control of his orchestra. All of the other conductors rush the big moments, like the climax of the love duet. Furtwangler
Never does this. 🎹
Perfection.
2:06:39 Brangäne.. ❤️❤️❤️
Probably the most beautiful part in music history. Absolutely wonderful.
Warner just issued the complete recordings of this genius and the NYT has a long article on the subject on Oct 15, 2021
that's what brought me here
fabuloso.
Isolde is running at the very beginning. Suthaus is great, rwally, but Furtwängler and Flagstadt are not reached until now, unbelievable conudcting and singing. Schwarzkopf sings a few high notes in this recording, but Flagstadt´s noble golden tone is really great and admirable
Where do you hear Schwarzkopf?
@@jeremyeirran3620 High Cs in the begining of Act II.
when I was a baby, I listened to this heart-breaking and divine performance in The Bayreuth Festspielhaus, it was a one way trip to Paradise, Unbewuszt, Höchste Lust, I fell in love with Kristen, so sad she committed suicide, as I cannot marry Isolde any longer I no live in the solitude of a Benedictine monastery, long live Meister Furtwängler
Fortunately Kirsten did not commit suicide, she passed away with bone marrow cancer
sublime
What a masterpiece.
Objetivamente, el mejor Tristan de todos.
After all the years I've listened to this miracle, Einsam, Wachend In Der Nacht (2:06:39) still gets to me.
Double basses in the Philharmonia Orch sound sensational.
The winds come out well.
Bravo!!!
12:09, prima frase Isotta
18:18, Mir erkoren, Isolde
18:37, TodTodgeweihtes Haupt!
Todgeweihtes Herz!
1:42:22, Isolde! Geliebte!...Tristan! Geliebter!
1:45:39, Dem Tage! Dem Tage!
1:54:53, O Heil dem Tranke!
2:00:48, O Sink Hernieder, Nacht Der Liebe
2:03:35, Barg im Busen
2:05:34,Liebe-heiligstes Leben,
2:06:01, Niewiedererwachens wahnlos hold bewusster Wunsch.
2:06:34, Habens Acht, Brangena
2:06:39, Einsam, Wachend In Der Nacht
2:10:40, Lausch, Gelibter
2:17:43, So sterben wir
2:21:10, Soll ich lauschen, p. 45 libretto pdf
2:23:02, O ew‘ge Nacht
Rette Dich, Tristan! (2:26:44), p. 47
2:45:23, Dem Land, das Tristan meint
2:48:19, Nun führst du in dein Eigen (strofa parallela della precedente, ma canta Isotta)
3:21:56, ?
3:49:35, Mit blutender Wunde
Y a t- il une vie apres l'écoute de cette version?
Secondo me è il Tristano più bello che esista ..travolgente al massimo ..seguito solo da quello di Bohm a mio parere !!!
completamente d'accordo :-)
Les 3 GÉNIES
FLAGSTAD
FERRIER
BJOERLING