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Martha Mödl Compilation
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Wagner: Tristan und Isolde (exc) - Act II - Mödl, Töpper; Keilberth. München, 1958. Act III - Nilsson, Vinay, Dalis, Kraus; Kubelik. London, 1958
Wagner: Tristan und Isolde (exc) - Act II - Mödl, Töpper; Keilberth. München, 1958. Act III - Nilsson, Vinay, Dalis, Kraus; Kubelik. London, 1958 Wagner: Tristan und Isolde (exc) - Act II - Mödl, Töpper; Keilberth. München, 1958. Act III - Nilsson, Vinay, Dalis, Kraus; Kubelik. London, 1958 Wagner: Tristan und Isolde (exc) - Act II - Mödl, Töpper; Keilberth. München, 1958. Act III - Nilsson, Vinay, Dalis, Kraus; Kubelik. London, 1958

Wagner: Tristan und Isolde (exc) - Act II - Mödl, Töpper; Keilberth. München, 1958. Act III - Nilsson, Vinay, Dalis, Kraus; Kubelik. London, 1958

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Listen to a Sample:

 

Pros:

  • The first set of excerpts comes from Munich, 1958 and features the opening of Act II with Martha Mödl and Hertha Töpper. Despite the limitations of the sound, Martha Mödl's unique charisma still manages to shine through.
  • Years ago I remember Irene Dalis telling me about how she showed up in London to rehearse Tristan und Isolde with Sylvia Fisher as Isolde. When it became clear that Fisher was no longer up to the task, Covent Garden was forced to scramble to find an alternative. That alternative presented itself as a young Birgit Nilsson who would be making her Covent Garden debut. It was also the first time that Dalis and Nilsson sang together.
  • It should come as no shock that Birgit Nilsson is ravishing. She is well supported by the sensitive and insightful musical leadership of Rafael Kubelik.
  • Ramón Vinay, although nearing the end of his tenor days, still manages to probe the deepest depths of despair and longing as Tristan with heartbreaking results.

Cons:

  • The sound of the Munich performance is pretty terrible.

In Mono

OD 11997-1