Customer Reviews

Tannhauser

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4 star:		(2)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I still can't listen to the Pilgrim's music from TANNHAUSER without hearing Elmer Fudd and Bugs Bunny sing along to it in the classic Cartoon "What's Opera, Doc?" It is only seldom that a recording lets me completely forget the Rabbit. This is one of them.

The most prominent advantage of this set is the use of the "Paris" edition of the score, as opposed to the "Dresden" version, which does not include the apparition of Venus or the Funeral of Elisabeth at the end, which were added for Paris. (It does include a song for the minstral knight Walther von Vogelweide in the song contest) Secondly, the full score is performend, including the ENTIRE Venusberg ballet: all ten-plus minutes of it.

The Cast is wonderful. Tannhauser has not been all that well served on record: Good performances for the most part, but there is no performance akin to Elisabeth Grummer's Elsa or Anja Silja's Senta: definitive performances. Rene Kollo is the closest we come to perfection. He is a controversial singer: his voice is not exactly of miraculous quality, and many despise his traversal of the role. I love it. He's no Domingo, who's Minstrel-Knight is ravishingly sung, but there is an intensity and dramatic depth to the Kollo's performance that Placido does not reach. The Rome Narration, as with many Tannhausers, is his best moment: all the agony and angst of the character come pouring out. It's both frightening and heartbreaking. There is beautiful singing in the duets with Venus and Elisabeth, and his blasphemous Hall Song is wonderful.

The Two women in his life are also excellent. Helga Dernesh is heavier than the norm for Elisabeth, and has been bettered on record by Anja Silja, Elisabeth Grummer and, best of all, Lucia Popp. But her vocalism is ravishing: her greeting to the hall and the love duet with Kollo are genuine in their joy, and her appearance in act three is heartbreaking. She's no great shakes dramatically, but has enough talent to pull the role off, and she does it well. Christa Ludwig's Venus is the best on records: a seductive, warm tone combined with the mezzo's infallible dramatic ability. Her appearance in act three is so seductive I was ready to look for the Venusberg myself.

Wolfram seems to get the short end of the stick in many of these reviews: the singers of this most important part are hardly mentioned. I intend to rectify that. Much has been said about the "beat" in Victor Braun's voice. I couldn't hear it at all. Sure, he's no Fischer-Dieskau or Watcher, but he has a sweet voice and has great sensitivity twords the meaning of the text. His ode to the Evening Star is wonderful. In the rather thankless role of the Landgraf, Hans Sotin has a resonate, authoritative sound. The Minstrel-Knights are excellent (they include a feature Wotan, Sachs and Dutchman for Solti: Norman Bailey) and the Biterolf of Manfred Jungwirth is strongly sung. The wonderful boy Soprano who sings the Shepard Boy is rudely uncredited. It took me a few hours of searching the internet to find out the singer's name is Johann Konigen. He has a beautiful voice. The Chorus work is wonderful, and the older Pilgrims are ravishingly sung by the Weiner Staatsoperchor.

Presiding over it all is Sir Georg Solti, of course. Solti is Solti, rather bombastic, dramatic, not as subtle as other conducters such Karajan, Bohm, and Sawallich. This approch can be succesful enough with Verdi and Mozart, but when it comes to Wagner (and Strauss), he is nearly irreproachable. Here, he is still bombastic and direct, but he is more subtle than usual. He is, in fact, surprising in tune with the emotion of the score. The Majesty, the Mysticism, the love (and lust), the majesty: all the elements are brought to the listener's attention more subtlety than in the conductor's other Wagnerian recordings. The Weiner Philharmonker responds to his leadership to create one of the best played TANNHAUSERS on disk. In fact, it is the best performance of the work available.

There are elements of other Tannhauser's you may want to experience: The Elisabeth of Popp and Silja, Fishcer-Dieskau or Eberhard Watcher's Wolfram, or the conducting of Wolgfang Sawallish, or even the Dresden version of the Opera, but if one can only have one TANNHAUSER, this is it.

Having listened to most of Sir Georg Solti's Wagner recordings, I must say this isn't quite a contender for his best. But, considering Solti's achievements in Wagner's operas have been magnificent, that doesn't mean this Tannhäuser is a bad recording at all; in fact, this is an excellent recording of Wagner's fifth opera. It was a great idea to use the Paris (1861) version, as opposed to the Dresden version of 1845. Some people have said that the Paris revisions (which include the

substantial lengthening of the opening Venusberg scene) make the rest of the score pale in comparison, but I don't agree. I think Tannhäuser becomes a much better opera when the Paris version is used. The interesting note by the producer, Ray Minshull, explains the choices they used under the "umbrella-title" of Paris version, including the decision to use the continuous version of the Overture/Bacchanale. Solti's direction of the work is superbly inspired and wonderfully evocative, from the frenzied excitement of the Bacchanale to the majesty of the pilgrims' choruses. He has far and away my favorite Wagner conductor since I first heard his Ring Cycle, and this recording did nothing to change that view. The orchestra is the phenomenal Vienna Philharmonic. It is probably the greatest Wagner orchestra ever, and there is terrific work from both the Vienna State Opera and Vienna Boys' Choruses. The vocal performances are not quite as good, though. René Kollo in the title role is hardly ideal (though he was probably the best Heldentenor around when this recording was made in 1970). He gives a good interpretation of the part, but his rather dry, effortful singing subtracts from enjoyment. He is at his best in the quieter, lyrical portions of the score, but his shortcomings are highlighted next to the wonderfully creamy singing of Christa Ludwig. She IS Venus, in every way. End of discussion. Though I think Helga Dernesch isn't quite powerful enough for Isolde and Brünnhilde, her singing as Elisabeth is excellent. Her voice is just about perfect for the character: slightly steely, with a slight vibrato through her entire register, and her reading is heartfelt and sympathetic. Hans Sotin, near the beginning of his career, is in fantastic form as the Landgrave. His interpretation is superb and his voice is beautifully resonant, especially in lower registers. Victor Braun is an acceptable Wolfram, but his tight vibrato becomes somewhat annoying at the top of his range. The supporting cast is good to excellent, with an actual boy as the shepherd in Act I (though he is rather rudely not credited anywhere in the set). The minstrel/knights are particularly good. Overall, this an excellent recording of Tannhäuser, and one that I shall return to again and again.

I've owned this recording since it came out on LP. Even then, I thought it a masterpiece. I've now added the new remastered edition to my collection and I'm bowled over by its beauty and it's engineering perfection. Listening through high-end headphones is like visiting the Venusburg live! You would never know this recording is 30+ years old. It could have been recorded last year, the engineering is so nearly perfect. In some passages, the sounds moves side to side to heighten the realism. I hear things I never heard before and I must rank this as one of the finest of classical recordings - opera or otherwise. If you're a Wagner follower, you must have this set at any cost.

Sir Georg Solti gives a gorgeous and stunning performance of Tannhauser with all principal singer in peak form!!! The most outstanding and astonishing singing comes, not unexpectedly, from the legendary Christa Ludwig. She is just incomparable as Venus. Her voice warm, secure, rich, gorgeous, beautiful, suggesting all the sensuality of Venus. Although this is 'Tannhauser' the opera, but truth be told, Christa Ludwig's Venus is the highlight of this set. Helga Dernesch is also fabulous as Elisabeth, her 'lighter' sounding voice providing a terrific contrast to Christa Ludwig's Venus. Christa Ludwig alone is worth the price of this set. Helga Dernesch sounds, appropriately, more 'innocent' and 'pure'. Her voice appropriately 'slimmer'. Together with Christa Ludwig, she ensures that this Tannhauser will go down into the historical annals as a landmark in Wagnerian recording.

What about Tannhauser himself? Well, critics have 'complained' that his tone is unattractive. But I don't find that to be the case. Among Wagner's 4 most difficult heldentenor roles - Tristan, Siefried, Walther and Tannhauser, Tannhauser is unique. It is written at the extreme all through. The first part is strenuous, the second scene is full of top As. The second act has 3 big scenes. In Act 3, there is a complex solo scene with a low tessitura, opposite to the rest of the piece. For those who are not familiar with operatic singing, this kind of vocal demand is a killer for the voice. An opera singer's voice, esp with older singers, will 'set' into a particular style and range after sometime. In other words, shifting about from one extreme to the other can ruin your voice. Imagine driving at 100 miles per hour on the 5th gear and suddenly shifting down to 1st gear - you'll dewstroy your car. Imagine going from a steaming hot sauna into a freezer immediately - you'll destroy your health in time. Same with Tannhauser. I think Rene Kollo gave an excellent performance. You will find it hard to find a better recorded Tannhauser.

Solti is in thrilling form. The music moves along and doesn't sag. You are kept 'interested' most of the time without losing your attention and waiting for the 'next bit'. The Vienna Philharmonic is in supern form and Decca's sound is incredibly good. A top recommended version of Tannhauser.

Solti's recording of the Paris version of Wagner's Tannhauser is one of the most completely satisfying recordings of any opera I have listened to. Solti's conducting is exhilarating. The cast of singers is perfect. Kollo, Dernesch, Ludwig, Sotin, and Bailey all give legendary performances. The Venusburg music is magical and exciting, the love duet in Act Two is thrilling; Wagner at its finest. The pilgrim's choruses are deeply spiritual and the dramatic high points of the opera are astounding, even hair raising. The complicated ensemble pieces at the ends of Act One and Act Two are spectacular. Most recordings of Wagner operas suffer from having at least one singer in the cast that is a disappointment, no matter how good the others are. Solti's recording of Tannhauser is the exception. Everyone is great. Everyone shines. This is definitely one of the finest recordings of any of the Wagner operas.

Following several reissues in CD and a new 24-bit super digital transfer (!), this now legendary Tannhauser sounds younger than ever. Of course this has a lot to do with Solti's flamboyant style and his marvellous orchestra, in peak form. The score really sounds like it is in cinemascope and Technicolor and this CD is probably the closest thing to Ben Hur on a CD: the listener has really his money's worth of musical emotions!
But the beauty of Solti (versus a late Karajan) lies in the fact that for him an opera remains...an opera, and not a symphony with voice accompaniment. So during all Solti's career on disc, there will be this willingness to find the appropriate singers to "compete" effectively with the magnificent orchestras he conducts (like the Wiener Phiharmoniker here, or the Chicago Symphony Orchestra at times in the Wagner operas). In the 50s and the 60s, picking good Wagnerian singers was still a relatively easy job, but in the seventies, the going started to get tough...
However, in my opinion, this set is a great success from a vocal standpoint. Let's the put the record straight immediately: Rene Kollo is a great Tannhauser, but I guess it is the fate of the heldentenors to get the slack of older generations: Windgassen got hammered because he was not Melchior, Kollo was hammered because he was not Windgassen, and Jerusalem got hammered because he wasn't...Kollo! Rene Kollo throws his heart and soul in the part like there is no tomorrow and really impersonates very well the tempted Wartburg singer. The "return from Rome" is declamated in style and we are lucky to have this memory of Kollo in the part at a time (1971) where he hadn't taken on very big Wagner role yet. The voice is therefore extremely fresh and full of brilliance.
Among the ladies, the Venus of Christa Ludwig is an absolute reference: warm of voice, extremely good with the text, she nails the part like no one else: let me on the next bus to the Venusberg please!
Helga Dernesch is more problematic. She has big enough a voice to sing the part but Elisabeth is more than a Brunnhilde in waiting, and Dernesch does not reflect that , since every note she sings is sung fortissimo. We prefer lighter, more fragile and more human Elisabeths, such as Anja Silja.
Victor Braun is a perfect, very moving Wolfram - he was a Hans Sachs in Paris at the end of the 1980s...he would be the tonal equivalent of a baritone Kurt Moll. Last but not least, Hans Sotin sings a very good Landgrave.
Hilariously, the remaining comprimarii parts (with sometimes just a couple of bars to sing) are given to first-class singers: Hollweg! Equiluz! Jungworth! Bailey!
The chorus is phenomenal as can be expected, but the female entry chorus in Act II is a bit strident.
Overall, an amazing performance of Tannhauser's Parisian version. Auditors more inclined to the experience of the theatre will choose Sawallisch in Bayreuth in 1962, very different but very good as well. I would be at odds to make a choice between these two marvellous versions though.

The great tenor Jon Vickers once said that he would never play the role of Tannhauser since the character was so despicable. He believed that his deep religious faith would not allow him to play this role, even though he would only be singing and acting. Wagner's music is so beautiful, it hardly befits such a character, yet when we look at issues such as sin and grace, goodness and evil, how often are we reminded that evil is often disguised as beauty. Perhaps this is one reason why this opera is so intriguing.

Tannhauser is a story of sin and redemption that combines the world of myth and Christianity-a popular theme in the works of Wagner. In this opera, Tannhauser visits the goddess Venus and enjoys her allurements of the flesh. He then returns home where he is greeted by the pure and chaste Elizabeth. Just as Venus embodies all that is corrupt, Elizabeth embodies all that is good. Elizabeth is loved by two men, the good Wolfram and the evil Tannhauser. Wolfram is worthy of a woman such as Elizabeth, and certainly she deserves to be loved by such a good and descent person. However, the one she loves is Tannhauser. At a singing contest in the great hall, Wolfram sings a genuine song and Tannhauser tells of his visit to Venus, which shocks the audience. He is told of his version of love is blasphemy and such a grave sin can only be forgiven by the Pope. Tannhauser will only know if he has been forgiven if the staff of the Pope grows leaves. He then joins a pilgrimage to Rome. Elizabeth stays behind and prays so hard that she dies. Her death coincides with the moment that Tannhauser realizes that he is forgiven.

The Sir George Solti recording of this opera was not praised by critics when it was first released. The cast is not as strong as some of the cast of the golden age of Wagner, however, we only have old 78 speed recordings of the greats, and since these recordings are so flawed due to a lack of technology, we may look back nostalgically and wonder what might have been, but we really do not know for sure if they were as great as we imagine them to be. Certainly Rene Kollo and Helga Dernesch, Tannhauser and Elizabeth respectively, are no Melchior and Flagstad, but they certainly do a reasonable job. Solti's handling of the score and his majestic conducting are what truly make this recording great.

Georg Solti is, in my opinion, the greatest Wagner conductor on record, and this is why: the recording that first introduced me to the realm of Wagnerian opera. The soloists on this are fantastic, particularly Ludwig and Kollo. He's a clear, true heldentenor, and she shines through in all her (Venus's) evil brilliance. The VPO continues to amaze me, as does Solti with his (to me) perfect musical control, bringing out what needs to be heard when it does. Just listen to the Act 2 finale, one of the most beautiful musical occurences ever written, and you'll know what I mean. A triumph beyond anything else.

In the booklet acompanying the CD, the producers explain their approach to Tannhäuser. It may be summarized as such a curiosity as an attempt to do an "authentic" recording of the opera (like the "authentic" recordings of Beethoven by Gardiner, or of Bach by just about every conductor of this age): the Pilgrim's Chorus, by Wagner specified as divided in men's and women's chorus, are, "as Wagner would have intended it", replaced by men and boys - considering it unlikely that female pilgrims were about in those days! Also, the instrumentation is changed at certain points, as in the case of the shepherd's pipe-tune. This is my main objection to this recording. Not only do I find it dubious whether it is right to question Wagner's own directions, but that would be less relevant if the changes represented an improvement - which they don't. The cast is generally good, though I think Dernesch, otherwise a favourite Wagner Soprano of mine, is something of an "over-kill": her powerful voice, so aptly suited to the roles of Brünnhilde and Isolde, is less convincing as the young, chaste Princess Elisabeth. This recording also features Decca's SoundScape recording-technique, designed to give studio-reecordings a sense of stage-atmosphere. Some like it, others believe it to be overdone, an outward effect - I'm of the latter group.

The Gramophone acclaimed Solti's Tannhauser when it first appeared in 1972. As you'd expect with any Wagner opera, no one has ever declared that the casting and singing are eprfect. The title role is demanding, and we are lucky to have stylish readings from Windgassen (for Sawallisch on Philips and now Decca) and Domingo (for Sinopoli on DG). The young Rene Kollo is youthfully ardent, and we must be grateful that he filled in the slot of "good but not great" Wagner tenor in the Seventies. There's an unpleasant edge to his voice at loud volume, he has no legato, the tone isn't all that beautiful, and he tends to blare. But you take what you can get in quasi-Heldentenors, and this counts as perhaps his best recorded role in Wagner.

Once past that hurdle, Solti's set has some huge positives. I'd place the Vienna Phil. as the first and greatest, followed byChrista Ludwig's sumptuous Venus, the outstanding Vienna State Opera Chorus augmented by the Vienna Choir boys, and finally, Solti's exciting conducting, which almost always avoids sounding driven. That's a large surplus of strong points, and no rival set that I've encountered has quite so many. The rest of the singing cast may bring quibbles. Helga Dernesch was a dramatic soprano and here sounds too Isolde-ish for some tastes compared to Lucia Popp and Anja Silja. Victor Braun's Wolfram is too blunt and lacking in refinement. One real fault is the almost cavernous resonance of the hall; another is the shrill edge of the original ADRM digital release. As for the Decca engineers' attempts to recreate a stage picture through sound effects and shifting perspective, I've never been bothered and often find their efforts rewarding. Can anyone really object that the pilgrims march onto the stage and disappear into the distance?

In short, revisiting this famous 'Tannhauser' finds it to be as strong as the day it first appeared, even stronger when you consider the impossibility of duplicating it with today's singers.