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Tannhäuser
In characteristic form, Herbert von Karajan assembles an all-star cast for this lush, romantic reading of Wagner's Tannhäuser. Gré Brouwenstijn is radiant as Elisabeth, charting a vivid emotional arc from innocence to martyrdom with both vocal splendor and psychological nuance. Christa Ludwig brings her luxuriant mezzo to the role of Venus, making the most of the extended passages from the Paris version of the score.
Eberhard Wächter offers a beautifully lyrical Wolfram, his singing refined and expressive throughout. Gottlob Frick brings commanding authority to the Landgraf, rounding out the cast with gravitas. Despite the strength of the ensemble, the performance is somewhat hampered by Hans Beirer in the title role. While his stamina and effort in this punishing part are admirable, his vocalism lacks the finesse and musicality of his colleagues. One senses that Karajan's exquisite orchestral support—and the production's polish overall—are somewhat lost on him.
The cast is further enriched by Waldemar Kmentt as Walther and a youthful Gundula Janowitz as the Shepherd., allowing the many strengths of this performance to shine through.
Track List
Act I
1. Ouvertüre
2. Geliebter, sag', wo weilt dein Sinn?
3. Dir töne Lob!
4. Geliebter, komm! Sieh dort die Große
5. Zieh hin, Wahnbetörter, zieh hin!
6. Frau Holda kam aus dem Berg hervor
7. Allmächt'ger, dir sei Preis!
8. Wer ist der dort in brunsstigem Gebete?
9. Als du in kühnem Sange uns bestrittest
10. Zu ihr! Zu ihr! Oh, führet mich zu ihr!
2. Geliebter, sag', wo weilt dein Sinn?
3. Dir töne Lob!
4. Geliebter, komm! Sieh dort die Große
5. Zieh hin, Wahnbetörter, zieh hin!
6. Frau Holda kam aus dem Berg hervor
7. Allmächt'ger, dir sei Preis!
8. Wer ist der dort in brunsstigem Gebete?
9. Als du in kühnem Sange uns bestrittest
10. Zu ihr! Zu ihr! Oh, führet mich zu ihr!
Act II
11. Dich, teure Halle
12. Dort ist sie, nahe dich ihr ungestört!
13. Den Gott der Liebe sollst du preisen
14. Dich treff ich hier in dieser Halle
15. Freudig begrüssen wir die edle Halle,
16. Gar viel und schön ward hier in dieser Halle
17. Blick ich umher in diesem edlen Kreise
18. Auch ich darf mich so glücklich nennen
19. Dir, Göttin der Liebe, soll mein Lied ertönen!
20. Ich fleh für ihn, ich flehe für sein Leben
21. Ein furchtbares Verbrechen ward begangen
12. Dort ist sie, nahe dich ihr ungestört!
13. Den Gott der Liebe sollst du preisen
14. Dich treff ich hier in dieser Halle
15. Freudig begrüssen wir die edle Halle,
16. Gar viel und schön ward hier in dieser Halle
17. Blick ich umher in diesem edlen Kreise
18. Auch ich darf mich so glücklich nennen
19. Dir, Göttin der Liebe, soll mein Lied ertönen!
20. Ich fleh für ihn, ich flehe für sein Leben
21. Ein furchtbares Verbrechen ward begangen
Act III
22. Vorspiel
23. Wohl wüsst ich hier sie im Gebet zu finden
24. Durch Sühn und Buss hab ich versöhnt
25. Allmächt'ge Jungfrau, hör mein Flehen!
26. Wie Todesahnung... O du mein holder Abendstern
27. Ich hörte Harfenschlag--wie klang er traurig!
28. Hör an, Wolfram, hör an!
29. Willkommen, ungetreuer Mann!
23. Wohl wüsst ich hier sie im Gebet zu finden
24. Durch Sühn und Buss hab ich versöhnt
25. Allmächt'ge Jungfrau, hör mein Flehen!
26. Wie Todesahnung... O du mein holder Abendstern
27. Ich hörte Harfenschlag--wie klang er traurig!
28. Hör an, Wolfram, hör an!
29. Willkommen, ungetreuer Mann!
Customer Reviews
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4.0
Based on 2 reviews
✓ Verified Buyer
United Kingdom
Not my favourite
I have to begin by confessing that Tannhäuser isn’t a favourite work of mine. That said, I enjoyed some things about this performance. I bought it mainly because in the revised version, Christa Ludwig as Venus has more to sing, and sing it she does. Marvellous. Why would Tannhäuser choose Elisabeth? Brouwenstijn is fine as Elisabeth, as is Beirer in the title role, but neither particularly excited me. Wächter I enjoyed very much as Wolfram, perhaps the opera’s most grateful role. Both his big scenas are sung beautifully. Frick makes a fine contribution too. Karajan takes things at quite a lick, which can make for exciting listening, but also accounts for a number of ensemble issues. The sound is good.
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✓ Top Reviewer
United States
One of the Great Karajan Performances!
DG felt strongly enough about this performance that they released it officially and no wonder. Karajan never got around to Tannhauser in the studio, probably because he couldn't cast the title adequately for an international release. I heard rumors that at one point he planned to use Peter Hofmann, but it's just as well that that never happened. In any case, this performance of the Paris version is excellent with many thrilling moments. Ludwig makes one so happy Karajan chose the version of the score with a larger part for Venus as she is tremendous. She has all the beauty of tone and seductiveness one could want and sails out on "Weh! Mir verloren!" with a stunning top B-flat. Brouwenstijn is fully her match as Elisabeth, singing with passion and beauty, not at all the passive Goody-Goody so often portrayed. Wachter sings an outstanding Wolfram and Frick is a tower of strength as the Landgraf. Janowitz makes a memorable cameo as the young shepherd in the first act.Beirer may take a little while to warm up and his intonation isn't perfect, but he is heartbreaking as the struggling repentant. The broken last phrases of his Narration are devastating. He never had a beautiful tone, but it was full of character and was fully able to convey his character's anguish. Let's stop picking on him - we'd be thrilled to have him today!The sound is excellent broadcast mono with no glitches that I heard. If you love Tannhauser and/or Karajan you must acquire this set.
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