Most Helpful Customer Reviews
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69 of 73 people found the following review helpful:
5.0 out of 5 stars
very enjoyable production, June 16, 2000
This recording of the Paris version of Tannhauser was made from performances at the Met on November 22 and December 20, 1982. It features Richard Cassilly in the title role, Eva Marton as Elizabeth, Bernd Weikl as Wolfram von Eschenbach, John Macurdy as Hermann, Landgrave of Thringia, and Tatiana Troyanos as Venus, among many other performers. The sets are designed by Gunther Schneider-Siemssen. James Levine conducts. Taken as a whole, this is a successful performance, done in a very traditional manner. The costuming is outstanding, and the choral work deserves special recognition. Levine's tempi are brisk but not pushed hard and the whole opera runs for 185 minutes. The sound quality is excellent considering the medium and age of the recording itself. A brief synopsis but no libretto is submitted, which is reasonable considering the opera is also subtitled in English. In comparison to Solti's studio recording, the orchestral balance is not as forward or aggressive, and the singing is as fine. At medium price, this is definitely worth seeking out. Elegant packaging and presentation. Recommended.
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16 of 16 people found the following review helpful:
3.0 out of 5 stars
Good production marred by a poor performance by the lead role, January 5, 2008
Tannhauser is a Wagnerian opera that suffers from some undeserved snobbery. It was written during the phase when Wagner hadn't perfected the idea of a pure music drama. Tannhauser is unusual in that it blends some facets of French grand opera (that Wagner would so harshly criticize only a few years later) -- it has a ballet and set pieces and arias. I find this reputation undeserved -- Tannhauser is one of Wagner's more accessible operas to newcomers, and it is rich with beautiful melodies. But perhaps the biggest reason it's not performed as often as Wagner's other works is the extremely punishing, voice-killing title role. It's a rare tenor who is equipped to handle the demands of Tannhauser, especially the Rome narrative that comes at the end of 3 hours of singing.
Otto Schenk's sets are unabashedly traditional, which is part of its appeal. With all the vague and obscure symbolism that directors love to clutter into Wagnerian operas, it's nice to see Tannhauser presented as it was meant to be -- a medieval morality play. Although Venusburg looks like a weird caricature of scantily clad dancers gyrating for no particular reason, the direction has a nice touch of realism. The sets for the Wartburg castle is very pretty. Tannhauser has a well-deserved reputation as a voice killer. From the very opening notes, I knew Richard Cassily's Tannhauser would be more workmanlike than inspiring. His voice has an unpleasant, pinched, nasal quality, and his stage presence is portly and uninspiring. He gets through the part, but the sounds he makes are not always pretty. To be fair it's a rare tenor who can even tackle Tannhauser, but opera is an auditory as well as visual experience, and Cassilly fails on both counts.
Fortunately, he is surrounded by much stronger singers. Tatiana Troyanos is a thrilling Venus -- sexy, with a beautiful blooming voice. Venus's part is relatively brief but Troyanos makes her mark. Eva Marton is in her relatively brief prime vocally. Never the most compelling stage presence, hers is mostly a stand and sing performance, although close-ups reveal that she's shedding real tears in Act 2. Her voice can turn shrill under pressure, but it's a major league dramatic soprano. Her voice lacks a bit of delicacy and vulnerability for Elisabeth (listen to Victoria de los Angeles or Kirsten Flagstad), but it's a strong performance. "Allmacht-ge Jungfrau, hor mein Flehen" is very well-sung. Bernard Weikl's voice is disappointingly hollow, but he pulls it together (somewhat) for the famous "Ode to the Evening Star."
I am deducting two stars because of Cassilly's vocally and physically unappealing Tannhauser, but I still recommend this video as a great introduction to one of Wagner's most underrated works.
By the way, the production uses the *Paris* edition of the opera. Long story short: the premier of the opera n 1846 was not a success, and in 1861 Wagner made several changes, including writing a ballet in the Venusburg scene. The Paris premiere was not a success either, and Wagner remained unsatisfied with the opera up until his death in 1883.
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24 of 26 people found the following review helpful:
4.0 out of 5 stars
Outstanding Visual Design, February 9, 2003
This is not my favorite Wagnerian opera by a long shot. But it is a must own, for the simple reason that these are absolutely the best set designs ever done. The Venusberg scene is dazzlingly Bosch-ish, the entry into Wartburg looks like it stepped out of an Italian Early Renaissance fresco. A must own.
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