Operas by Wagner: Masterful Interpretations by Berit Lindholm and the London Symphony Orchestra

Composer: Richard Wagner
Works: Die Meistersinger von Nürnberg, Götterdämmerung, Rienzi
Performers: Berit Lindholm, soprano; London Symphony Orchestra and Chorus; New Philharmonia Orchestra; Leopold Stokowski, conductor
Recording: Recorded at Fairfield Hall, Croydon, September 1967 (Meistersinger), Royal Festival Hall, June 1967 (Götterdämmerung), Royal Festival Hall, June 1968 (Rienzi)
Label: BRILLIANT

Wagner’s “Die Meistersinger von Nürnberg” represents a pivotal moment in the evolution of the German opera tradition, harmoniously marrying his grand musical philosophy with a distinctively human narrative. Premiered in 1868, it serves as a celebration of artistic integrity and the complexities of creativity itself. Leopold Stokowski, a titan of the conducting world, approached these selected works from the Wagner canon at the venerable age of eighty-five, imbuing them with a unique interpretative lens that both honors and reinterprets the source material.

The recording kicks off with the Prelude to Act 1 of “Die Meistersinger,” where Stokowski’s command over orchestral color is immediately apparent. The sharpness of the trumpets cuts through the texture with a rawness that is refreshing, while the woodwinds offer a delicate patina that adds depth to the aural landscape. At 6:30 in the Prelude, the conductor introduces stabbing string accents, deftly accompanied by clarinets, showcasing his adeptness at maintaining clarity amidst the orchestral complexity. This is not merely a loud, bombastic performance; rather, it reveals structural coherence, offering a narrative that unfolds with purpose.

Transitioning to the Prelude to Act 3, Stokowski’s interpretation is imbued with a sense of nobility. The London Symphony Orchestra plays with a rich melodic assurance, their strings lithe and brass mellow, capturing the gravity of Wagner’s thematic material. The balance of reverence and momentum in Stokowski’s direction creates an impressive dynamic that enhances the emotional weight of the music. The sound quality, while not pristine, allows for an engaging listening experience that reflects the era’s recording limitations without sacrificing the essence of the performance.

The “Dance of the Apprentices” brings a vivacity that is infectious. Stokowski’s emphasis on articulation is particularly striking; the entrance of the violins at 0:39 is a moment of sheer brilliance, their synchronicity striking and passionate. This level of precision is complemented by the cello counter-theme, executed with an evident understanding of Wagner’s rhythmic intricacies. The Entry of the Masters is electrifying, as the London Symphony Chorus bursts forth with exuberance, supported by triumphant brass and energetic tympani; the effect is life-affirming, embodying the celebratory spirit that Wagner envisioned.

In the excerpt from “Götterdämmerung,” Stokowski navigates “Siegfried’s Rhine Journey” with a transparency that belies its grandeur. His interpretation balances lightness with elegance, allowing the listener to appreciate the elemental beauty of the music. In stark contrast, the Funeral March envelops the listener in a shroud of yearning, with violins that ache and brass that resonates with somber fervor, showcasing Stokowski’s ability to evoke contrasting emotional landscapes seamlessly.

Berit Lindholm’s debut in Brunnhilde’s Immolation Scene is a standout moment, her deep dramatic soprano imbued with resonant power and nuance. Lindholm sustains her vocal line with impressive insight, navigating the demands of the scene with both beauty and strength. It is noteworthy that Stokowski invited her to perform at Carnegie Hall shortly thereafter, a testament to the impression she left on him — her voice is a fitting complement to the grandeur of Wagner’s orchestration.

The recording concludes with the “Rienzi Overture,” which encapsulates Stokowski’s virtues as a conductor. The string phrasing is eloquent, the overall execution marked by a delightful wit that captures the essence of Wagner’s early operatic style. This finale serves as a fitting tribute to Stokowski’s orchestral greatness, inscribing his interpretations into the larger narrative of Wagnerian performance history.

The collection stands as a testament to Stokowski’s unique interpretative approach, characterized by a careful balance of orchestral clarity and emotional depth. While the sound quality may not reach today’s standards, the vitality and artistry presented here remain compelling. This recording is essential for those seeking to understand the nuances of Wagner’s music through the lens of one of the 20th century’s most innovative conductors.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.