Great performance,transport without any problem.One of the few cd`s performing my dad.

A fabulous performance all round - I do like Kassel and find Bailey's sympathetic lyricism no surprise when you think about his Sachs and much of his Walkure Wotan. However, those horns and brass in general have a very bad time of it, especially towards the end of the first act; I bet Colin Davis (who was Music Director of the Royal Opera at the time) was not happy!! I still find no cause to deduct even half-a-star! Enjoy this - it's special!

Most people will be drawn to this performance because of the Elisabeth of the youngish Jessye Norman - and she doesn't disappoint. There are some minor intonation problems at her first entrance, but these are soon vanquished and she sings the rest of the role gloriously, especially the prayer in the last act. Veasey sings the extended role of Venus well though it doesn't suit her as well as some other roles. She gets all the notes and clearly knows what she is singing about, but the role requires a more voluptuous sound than she has (especially in the Paris version performed here).As other listeners have noted the big discovery here is how good Wolfgang Kassel is. I don't know what happened, but he never emerged on the international scene. What little I could find out about him shows that he didn't lack for work. His vocal security and impassioned interpretation would be very welcome today.I don't know why I was surprised that Bailey sings such a beautiful Wolfram. I tend to associate him Sachs and Wotan, but he distinguishes himself here despite my expectations. Riddersbusch is a fine Landgraf and Lloyd a ringing Biterolf. Davis leads an exciting performance that also features the Royal Opera's children's chorus in the last act.The sound is basically very good though there are minor tape glitches sprinkled throughout the performance (nothing major, fortunately.) Is you love Tannhauser, you'll want to hear this.

Eine der raren Aufnahmen dieses hervorragenden Tenors. Für mich ist dieser Sänger eine Entdeckung, ein Tannhäuser wie ich ihn hören möchte. Kassel verfügte zu dieser Zeit über eine stämmige, gesunde Heldentenorstimme mit baritonalem Kern, die keine Klippe der Partie fürchten mußte, nirgends gefährdet war und einem Vergleich mit den Bayreuther Rollenvertretern dieser Zeit (Beresford, Esser, Wenkoff) standhält. Der Live-Mitschnitt zeigt eine beeindruckende Physis. Die Stimme ist immer kontrolliert, kein tenorales Leichtgewicht. Ein intelligenter, musikalischer Sänger, der zu jedem Zeitpunkt weiß was er singt.

Tenor Wolfgang Kassel is the great surprise of this wonderful live recording... A cast of fine singers: Jessye Norman (soprano), Josephine Veasey (mezzo-soprano), Norman Bailey (baritone) and Karl Ridderbusch (bass)... Chorus and Orchestra of the Royal Opera House, London, and a great conductor: Sir Colin Davis... A must!

Having now listened to this performance I must admit that Kassel is a trial – especially in act one, but he improves as the opera proceeds. The rest of the cast is fine. But the glory of the set is the young Jessye Norman making her Covent Garden debut. She is in glorious youthful voice and gives a marvellous interpretation. Dich teure Halle is breathtaking and she dominates the great ensembles (no cuts, complete text), magnificently. I’d venture to say possibly her finest recording.

The withdrawal of Vickers from Tannhauser had nothing to do with this 1973 production. It was a revised revival in 1977 specially mounted for him (and which he was to repeat at the Met in the 77/78 season) which was the occasion for the controversial cancellation (he also cancelled the Met). Vickers had never sung Tannhauser before and in 1977 it may have been beyond his then vocal powers (though I doubt it) but heWAS a deeply religious man and he found the plot offended his religious beliefs. This might seem odd to many but live and let live. Nothing can take away his position as the supreme tenor of his age: the tenor equivalent of Callas – and I saw them together at Covent Garden in Medea!Nevertheless the 1973 production which I saw twice – once with Cassily and once with Kassel was a very fine one. I think it had been dogged by trouble in the production department which caused a lot of negative comment at the time. The great Josef Svoboda’s design for act two was dominated by an immense and beautiful stained glass window which stretched the width of the backstage. When Tannhauser revealed his secret and was condemned by the company all the colour drained out of the window – a tremendous visual psychological insight which I’ve never forgotten.

Jon Vickers was originally announced as the Tannhauser in this new production, but withdrew fairly early on as he found himself out of sympathy with the religious and erotic quandaries of the hero, apparently.The production was designed by Josef Svoboda and was remarkable for a giant bosomy inflatable Venusberg, onto psychedelic images were projected. The corps de ballet bounced around enthusiastically.Kassel was adequate but was quite short and ill-matched to the majestic figure of Norman.

I read his article in Opera News in which he justified his withdrawal by siting his religious misgivings. I have to say that I don’t believe a word of it. He withdrew because in 1973 there was no way he could cope with the tessitura. Richard Cassilly told me that he was offered the cover of this production (he sang in earlier performances.) Initially he thought that the offer was an insult, but his agent convinced him to take it stating that there was no way Vickers would go through with it. A smart move…I mean no disrespect to Mr. Vickers who is one of my favorite singers and in the end I applaud him for realizing his limitations.