Customer Reviews

Wagner's Tannhäuser: Complete Opera

5 star:		(9)
4 star:		(4)
3 star:		(1)
2 star:		(3)
1 star:		(0)

 

 

When the DG/Sinopoli recording of this work appeared, listeners rejoiced at the beauty and purity of Domingo's singing in the notoriously difficult title role. Here, Peter Seiffert does even better: not only does he have a bright and beautiful voice along with the requisite technique to cope with the part, but he is also a native German with fine dramatic insight, and the combination is simply more satisfying that Domingo's admirable but generalized intensity. In fact, one probably needs to go back to Melchior to hear better singing in this part. Even though Barenboim's conducting exhibits many extremes of tempo, his concentration generally holds things together well. Seiffert's colleagues are all admirable, even if they do not surpass their finest competitors in previous recordings. As Elisabeth, Eaglen does a commendable job in a role that isn't ideal for her, lightening her tone to convey youth and purity, but she is not ideally steady. Meier's Venus, though not especially rich in tone, is predictably compelling. It will come as no surprise that Pape is an impressive Landgraf: one of the best, yielding only to Frick, who can be heard under both Konwitschny (EMI) and Karajan (DG). As Wolfram, Thomas Hampson demonstrates his ever-expanding repertoire and growing richness of voice. His performance here is somewhat in the mold of Fischer-Dieskau (for Konwitschny), both in terms of the slimness of his timbre and his occasionally mannered delivery; a fuller sound and a more natural delivery, such as one finds with Waechter (for Karajan and Sawallisch) or Weikl (for Haitink and Davis on video) are more satisfying. The recorded sound is excellent (distinctly better than Sinopoli's). Barenboim's orchestra and chorus perform admirably, with even more security and splendor than in his earlier Lohengrin. The minor parts are all well taken, too, all of which adds up to a very satisfying performance.

as barenboim's wagner cycle draws to its close, here comes one of the most satisfying tannhauser's to be put on disc! the orchestral details are phenomenal and yes, even if barenboim can be slow in the furtwangler mode he never looses the overview on where he is heading to. the sound is spectacular and the final chorus uplifts you in a way it seldom happens on disc!

most of the singers fit barenboims view like a glove and most of them are 'germanic' in origin, hence there is (mainly) good diction and attention to the meaning of the text. peter seiffert must rank as one of the most successful tannhausers in a long time, his sound is beautiful while he is expressive and in the end the tormented broken figure that tannhauser becomes. while he hasn't quite the domingo-bloom in his voice (but then domingo's german is so unidiomatic and, beautifully as he sings, his portrayal under sinopoli is painted in water colors - whereas seiffert's is a person of flesh and blood) and sometimes here is a hint of unevenness when he puts pressure on his voice (but never obtusively so), his is an interpretation that shines like a star!

none of the other men needs to fear to be outshone though, as they hold up their ends to build quite the strongest male trio all around! next to seiffert there is hampson's hypersensitive wolfram (and his 'abendstern' aria in the last act just grips you by the throat), although an american, his diciton is crystal clear - his wolfram is very much in the dietrich fischer-dieskau mode ... and i think that is praise in itself. rene pape is probably the best of all landgrafs (and no, i am not forgetting kurt moll under haitink!), his every utterance full of meaning and his voice just a gem! so were it only for the men this set would get 6 out of 5 stars!!!!

alas, the female side seems somehow undernourished (with the exception of roschmann'a charming sheperd). waltrud meier remains the consummate artist she was and her word pointing is done with great care - she is a believable venus. but the voice in itself lacks the sensuousness needed to understand why tannhauser is tempted by her again and again. furthermore her voice has lost some of its bloom in recent years (many would say it never had any bloom ... but that is personal taste) and her slurring of the notes prevents a crisp diction (just compare her venus here with her ortrud under abbado and you can hear the decline in the voice since 1991). she paints a vivid portrayal, but vocally it leaves alot to be desired.

whereas meier still succeeds through her personality, i have to admit that jane eaglen's elisabeth is a total desaster. her first entrance is squally, her second aria (that wonderful prayer!!!!) flat and inexpressive and throughout the set the cutting edge of her singing and her non existent attention to words or expression make me wonder who decided to cast her in that role?! (but knowing that she is an exclusive teldec artist answers that question ... though it still makes it a scandalous decision, especially as there is such a wonderful german soprano called angela denoke who made such a big impression singing elisabeth in berlin!!!!)

so overall this set gives extrem pleasure if you manage to mentally block out jane eaglen. nonetheless: buy it (and skip her arias when listening to it!)!!!!

Like Sinopoli and Solti, Barenboim's rendition of Wagner's 1845 opera is intriguing, attention-grabbing, and groundbreaking. The Staatskapelle Berlin does an amazing job of keeping with the tempi and the atmosphere. The choir's dictions are clear and it is much more passionate than Sinopoli's choir (at least in my opinion). And the overture . . . it sounds so melodious; I can hear it at least three times a day if I want to.

As for the cast, yes, there are some flaws. Jane Eaglen makes up for her disappointing work in Barenboim's "Der Fliegende Hollander". It sounds heavy, as if she is Brunnhilde in "Der Ring Des Nibelungen," But her expression is rock-hard and it is not entirely devoid of feeling. Waltraud Meier may not be the best Venus, but at least she tried very hard. Peter Seiffert has done an incredible job with the role of Tannhauser. It's precise, it's unique, and best of all, it sounds like what Wagner intended. The rest of the cast is solid gold, very stunning in their own way.

Despite some flaws from the cast, this Tannhauser by Barenboim ranks with the finest available. NOTE: This, along with the set by Otto Gerdes, is the Dresden Version. Sinopoli and Solti belong to the Paris Version. If you know the main differences between these two, then add Barenboim to your list. If you do not know the main differences, then I suggest that you listen to the Dresden version first, and then the Paris Version. Keep in mind, though, that while this IS the original version, the second scene of Act One is based on the Paris Version. Otherwise, you'll be able to figure out why Wagner made some changes in the score when showing the opera in Paris.

I bought this recording having previously been won over by the Sinopoli set, gloriously cast with Domingo and Studer utterly affecting and involving in the lead roles, with Agnes Baltsa a predictably fiery, Southern European Venus. I did wonder what I might make of this set, therefore, with its cast of American/English/German singers. Would it lack the sensuality of the Sinopoli, or descend into religiose Parsifal-ness? (No disrespect to Parsifal - it's just not the same kind of piece).

Of course not. Barenboim is by now a supremely experienced and intelligent Wagner conductor, and he straddles the split personalities of this piece with ease, telling the story with a grip on the broader architecture whilst giving the individual scenes their own personalities. The Venusberg music is as sexy and languid as one could wish, whilst the Wartburg is all splendour and ceremony. the second act builds up a fine head of steam and the Rome Narration is gripping. The orchestral playing is absolutely beautiful, refined and phrased with suoreme care and attention to detail, and to my ear Barenboim's grip on pacing is superb. The (large-sounding) chorus, afforded so many marvellous opportunities in this piece, are excellent.

Barenboim picks soloists very much of "his" team, and has a good rapport with them. Seiffert is thrilling, sounding youthful and ardent and tackling the taxing vocal lines - with their cruel excursions ever higher - without trouble. Rene Pape, popping up as the Landgrave/Marke/Heinrich all over the place, is for a good reason the Bass of choice nowadays for this repertoire. The tone is rock-solid, his German clear and idiomatic and his phrasing generous and expressive. The same could be said of Hampson, whose finely focused baritone is most welcome as Wolfram. It's not free of strain- the Wagner parts he is now taking on do test him a little - but the tone never thins and he uses the character's moments in extremis to paint an unusually involving portrait. And, thankfully, he doesn't wallow in the beauty of the Abendstern number - he thinks it through and makes uit a dramatic high point.

Much ink (type?) has been spilt over the female singers (save Dorothea Roschmann who, all seem to agree, is luxurious as the Shepherd). It has taken me a long time to be won over by Eaglen's Elisabeth, but won over I am. I'd agree that this is a peculiar piece of casting, as we aren't used to big, mature-sounding voices in this role, and at her first entry she sounds rather like Isolde in a Very Bad Mood. However, as the piece progresses her use of dynamics, her attention to the text and the sheer security of her singing become ever more apparent. Her scaling down of the sound can pull it flat and she lacks the radiance of others who have gone before. But it's a portrayal that repays repeated listening. Meier's Vanus is a known quantity, and I'd agree that her voice is slenderer than in the past, but her technique and her dramatic involvement are undiminished. She is an artist who always throws in 110% and the first scene, where she and Seiffert make some real dramatic sparks fly, is gripping.

I wouldn't chuck out Sinopoli for this recording - nor many older classics - but I would thoroughly recommend adding it to your collection, if only for the superb playing and conducting, as well as some exciting singing.

I wanted to give this recording 5 stars due to the outstanding singing of the male leads. However, I was forced to give it only three stars due top Waltraud Meier and Jane Eaglan. For sometime, I have enjoyed Meier, as a mezzo, in Wagner operas. I was shocked to hear her in this recording as Venus. The voice has thinned extensively and the sound she produces, to me, is just plain ugly. maybe, this is the result of too many Isolde(s). Jane Eaglan, perhaps, should have recorded Isolde instead of Elizabeth. She sounds like she is trying to hold her voice back and as a result she sings terribly flat. Again I just don't like the sound she produces--so straight and white. As a result of the two female leads, in this recording, I could have been very worried about the present state of Wagner singing. BUT the male leads give me considerable pleasure.
Peter Seiffert is phenomenal as Tannhauser. Most tenors, I have heard sing this role, seem to be on the verge of strangling. Not Seiffert! He seems to revel in the cruel tessitura of Tannhuaser. The difficult passages are sung with great skill, ease and beauty. In fact, he sings the entire role of Tannhauser just beautifully without a hint of strain or choking. That is no easy accomplishment for any of the heavy tenor roles of Wagner and especially with Tannhauser.
Rene Pape is new, as a singer, to me. He sings wonderfully with a full and rich bass voice. I look forward to more recordings from him.
The best I save for last--Thomas Hampson. I've been a fan of Thomas since his very early "Rossini days". I heard him tackle the heavier Verdi roles, and I was impressed and delighted with his performances. Nothing prepared me for his foray into Wagner. His performance as Wolfram is fantastic--such a rich, full, even and large sound! His performance of Wolfram is more beautiful and thoughtfully sung than any I have heard. Of course being the intellectual that he is, one gets the feeling that every phrase is thought-out extensively, and he certainly has the voice to produce whatever his thoughts are on his role
Barenboim does an incredible job of conducing this massive work. If only he had made (to me) better choices for the two female leads--oh well, I guess we can't have everything! Anyway, for some fantastic male Wagner singing, buy this recording. You will NOT be disappointed. As far as fantastic female Wagner singing is concerned, go elsewhere.

This is an excellent recording of one of Wagner's finest opera's (since it actually has aria's!!).

Peter Seiffert sang Tannhäuser at the met this past season, and, just as in this recording, he is absolutely wonderful. He doesn't choke on the lines, and he doesn't overplay phrasing's and dynamics to much, unlike a certain tenor whose name rhymes with Domingo. Thomas Hampson's Wolfram, especially in Act III's "Hymn to the Evening Star," can bring tears to your eyes.

The orchestra and chorus both get high marks for a wonderful, full-bodied performance. The Overture isn't rushes, has excellent dynamic contrast, and, more importantly, takes a more sober tone when playing the melodies that become the Pilgrims' Chorus, while taking an upbeat tone when playing the much happier melodies that later become the Hymn to Venus. The Chorus also does wonderfully for the Pilgrims' Chorus in Act III, taking a heavy, sober, yet still slightly optimistic tone that is appropriate for the lyrics.

As for the females: they weren't great, nor were they unbearable. Don't let them keep you from this delightful opera.

Peter Seiffert and Daniel Barenboim are the two main reasons to buy this recording. It's interesting to compare Seiffert's younger, brighter purely tenor interpretation with the baritonal heft of Ramon Vinay, but they are both excellent albeit very different. Seiffert is probably the best in the role as of this writing, and is making his San Francisco debut in the role in the fall of 2007. He has a purity of tone that totally eliminates the "Bayreuth bark" of some tenors while still conveying the anguish of the title character. Thomas Hampson brings great musicality and sensitivity (and a beautiful, if not particularly large voice) to the role of Wolfram, and Rene Pape is probably the finest German bass singing today.
The female leads are also fine, if not quite as good as the men. Waltraud Meier compensates for any vocal difficulties with an intense and arresting interpretation. Jane Eaglen initially seems to have too big a voice for the role of Elizabeth and seems to be holding it back which may make her slide under the pitch from time to time, but after a while her interpretation grows on you.
The real star of this performance is Daniel Barenboim, who keeps the production moving briskly without sacrificing dramatic or musical values, and gets wonderful playing from the Berlin State Opera orchestra. The chorus is also majestic. The sound quality is excellent and the accompanying booklet is very well done. While there are other excellent recordings of Tannhauser available, I'm very pleased to have acquired this one.

Daniel Barenboim, one of the finest Wagnerians alive, has given us one outstanding Wagner-recording after another - notably his Parsifal and Tristan! This 2001 Tannhäuser follows this line. Like the rival Sinopoli recording (DG, Paris Version, 1989), it benefits from state-of-the-art sound quality and a stupendous cast. The female leads Jeane Eaglen and Waltraut Meier might be the best on record (as far as modern recordings are concerned) and Peter Seifert, Rene Pape and Thomas Hampson don't need to shy away from any competition, either. Like Wagner's wife I prefer the Dresden version without the excessive Venusberg-mystery-music - and Barenboim's subtle amalgamation seems to combine the best of both worlds. With his fine band in top form and the conducting sure-handed and emotionally charged, this <em>Sängerkrieg</em> is a clear winner - and not just among modern recordings.

To respond to others' criticism: "Unimpressive voice" re: Waltraud Meier??? Yish... that's literally an incomprehensible statement for me. Nor is her voice mangled. If anything, Eaglen overdoes her ethereal touch a bit - but it fits Elizabeth quite well, really. The set with Domingo and Studer with Sinopoli is splendid, also - especially if you don't understand German, as Mr. Domingo's pronounciation - to say the least - has still room for improvement.

I'm not going to repeat the sentiments others have so ably expressed. True, Eaglen is less than perfect but so are nearly all the recent crop of Wagnerian sopranos (i.e. Gasteen!)

Meier's switch to soprano, in my opinion, has not been accomplished with great success. She has the high notes in her voice, but her vocal center of gravity is simply too low to sustain the soprano roles for a four hour period. She sounds wonderful on the Haitink Tannhauser. If she had remained a mezzo, she would have retained that sound possibly to the present.

But the overall musical level of this recording is extremely high; easily competitive with great recordings of the past: Konwitchny, Solti, Gerdes, Heger, Suitner... But to my thinking, the biggest plus is that it is note complete. Of my two and a half dozen or so CD's and DVD's of Tannhauser, I don't think any two are alike. (I've often thought of cataloging them.) I am forever bewildered and frustrated by the numerous and varied cuts to which this poor opera is subjected; cuts which would NEVER be tolerated today in his longer operas. I saw a Tannhauser in Palm Beach which cut a huge section of the wonderful Act II ensemble including the "dramatic high point of the opera" (Wagner's own words) "Zum Heil dem Sundigen zu fuhren". I thought I'd passed through a time warp!

Not only are the usual stage cuts restored, Barenboim restores the beautiful and meaningful ensemble writing that accompanies the aforementioned section. He also restores the almost NEVER heard dozen or so measures in the Act II finale. (These measures can be found in the Peters piano vocal score.) In fact, the only time I've heard these measures reinstated was on a Bayreuth broadcast several years ago with Thielemann conducting.

I should also mention that the ensemble of minstrel knights are extremely well-balanced and follow the scores dynamic markings with great care. The male chorus that immediately follows the Landgraf's proposal of the Rome pilgrimage is kept at a piano level until they draw their swords. Only in the Gerdes recording is this passage rendered with equal care. I have always loved this section especially how Wagner handles the two groups: the larger chorus of knights quickly repeat with punctuated words what the minstrels sing more lyrically.

This recording is unsatisfactory principally because of there being an uneven cast. Jane Eaglen is a squally and dramatically colorless Elisabeth. She shouldn't have taken this role given the lousy vocal condition she is in. Waltraud Meier's voice shows much sign of wear and tear, probably a result of her taking on too demanding roles in the theaters. Yet, her singing of Venus still has much fire. I have almost no reservations for the men in the cast. Of Barenboim's conduction, I can only say that he is a dedicated conductor but is also one who at times fail to link up the different episodes of the music smoothly.