Description:

For all its technical flaws (more on that below), this performance of Tristan und Isolde stands as a fascinating intersection of two generations of Wagner interpretation. Representing the old guard are Wolfgang Windgassen—captured just months before his death—and Gottlob Frick, who studied voice with Windgassen’s father. On the other side of the generational divide are Catarina Ligendza, bringing youthful intensity and vocal freshness to the role of Isolde, and the legendary Carlos Kleiber, conducting an early Tristan that already bears the unmistakable fingerprints of his genius.

Though his later performances would gain greater depth and refinement, Kleiber’s innate understanding of Wagner’s pacing is already evident here. He brings a natural, flowing energy to the score that avoids heaviness without sacrificing dramatic weight. Ligendza’s Isolde is vibrant and urgent, and Windgassen, even in his final months, retains his authority and command over one of the most grueling roles in the repertoire. Frick, as always, brings a sense of gravitas and vocal solidity to the proceedings.

Now for the caveats: the recording quality is poor. Voices are often distant, there is mild clicking at the end of Act I, digital artifacts at the start of Act II, and a substantial amount of noise during the Liebestod. This is a performance best suited for diehard Kleiber completists. For others I would recommend his Bayreuth recordings from 1974, 1975, or 1976. While this document has historical and interpretive value, it is unlikely to become a regular listening experience for all but the most devoted fans.

In Mono

OD 12219-3