Review of Richard Wagner’s Tristan und Isolde
Composer: Richard Wagner (1813-1883)
Works: Tristan und Isolde (1865)
Performers: Tristan – Ludwig Suthaus (tenor), Isolde – Kirsten Flagstad (soprano), Brangäne – Blanche Thebom (soprano), King Mark – Josef Greindl (bass), Kurwenal – Dietrich Fischer-Dieskau (baritone), Chorus of the Royal Opera House, Covent Garden
Conductor: Wilhelm Furtwängler
Orchestra: Philharmonia Orchestra
Recording Date: 9-23 June 1952
Location: Kingsway Hall, London
Label: EMI Great Recordings of the Century, CMS5 67621 2-4 discs [67.05, 68.16, 64.28, 56.07]
Release Year: 2001
In the pantheon of operatic recordings, few are as revered as Wilhelm Furtwängler’s 1952 traversal of Wagner’s Tristan und Isolde. Now remastered and presented at a mid-price point, this edition invites renewed scrutiny of a performance that has long been hailed as a benchmark in the recording industry. Furtwängler’s interpretation, characterized by its elemental power and symphonic integrity, remains a touchstone against which many subsequent renditions are measured.
The engineering of this 2001 remastering has brought forth a warmer, more atmospheric sound, enhancing the depth and resonance of the strings—particularly notable in the Prelude, where the cellos’ rich tones at 4:42 and the blossoming sonorities at 7:13-7:31 emerge with newfound clarity. This sonic enhancement is vital when evaluating the recording’s historical significance; Furtwängler’s artistry is further illuminated by the atmospheric texture that modern remastering can provide.
Furtwängler’s approach to Wagner is not merely one of grand gestures but one of profound understanding. His pacing, while sometimes perceived as slow, allows for a nuanced exploration of the score’s emotional landscape. The Prelude to Act III, for instance, reveals the conductor’s ability to conjure a sense of desolation and yearning with his masterful control over the orchestral forces. The Philharmonia, though a relatively young ensemble at the time, responds with sensitivity and depth, especially in the lush orchestration of the Act II Love Duet, where the strings weave a tapestry of sound that is both sensuous and tragic.
However, the performance is not without its criticisms. The orchestra exhibits minor lapses in ensemble precision, a point that has drawn scrutiny from some quarters. Yet, Furtwängler’s focus on expressive phrasing often supersedes strict adherence to technical perfection, aligning with his artistic philosophy that champions emotional truth over mechanical exactitude. The wind section, particularly the English horn, shines with a sublime phrasing that encapsulates the score’s lyrical beauty, especially at the opening of Act III.
Vocal performances, while generally strong, present a mixed tapestry. Kirsten Flagstad’s Isolde, although not devoid of strain—most notably in Act II—exudes a noble quality that sets her apart from contemporaries such as Birgit Nilsson, whose interpretations sometimes veer into the steely. Flagstad’s ability to convey tenderness and depth of feeling positions her as a uniquely compelling Isolde, while Ludwig Suthaus, though occasionally challenged by the role’s demands, delivers a Tristan that balances lyricism with dramatic intensity. His performance in Act III, characterized by a fragility that resonates deeply, is particularly noteworthy.
In contrast, the King Mark of Josef Greindl and Brangäne, portrayed by Blanche Thebom, do not quite achieve the same level of interpretative depth. Greindl’s tone lacks the warmth and nuance required for the role, and Thebom’s characterization falls short of the vividness one might hope for in such a pivotal part. Dietrich Fischer-Dieskau’s Kurwenal, while noble, perhaps yearns for the lyricism that a performer like Hans Hotter could have brought to the role.
In comparison to other notable recordings, such as those by Herbert von Karajan and Guido Cantelli, Furtwängler’s interpretation retains a distinctive character. Karajan’s 1952 Bayreuth performance, while more dynamic, lacks the symphonic scope and emotional breadth that Furtwängler achieves here. The studio setting allows for a clarity of action that is often absent in live performances, contributing to an overall experience that is both immersive and intellectually engaging.
Ultimately, this remastered edition of Furtwängler’s Tristan und Isolde reaffirms its status as a monumental achievement in the world of opera recordings. The lush orchestral textures, the nuanced vocal interpretations, and the historical significance of the performance coalesce into a compelling experience that resonates with both newcomers and seasoned Wagnerians alike. As new recordings continue to emerge, Furtwängler’s interpretation stands resilient, a testament to the enduring power of Wagner’s music and the interpretative brilliance of one of the 20th century’s greatest conductors.
In conclusion, this release is not merely a nostalgic revisit; it is an invitation to engage with a seminal work of art, enhanced by modern technology yet anchored in a historical context that remains profoundly relevant. The performances—and particularly Furtwängler’s visionary conducting—continue to illuminate the depths of Wagner’s magnum opus, ensuring that it holds a revered place in the annals of operatic history.
