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Tristan und Isolde
Birgit Nilsson delivers a triumphant homecoming as Isolde, nearly surpassing her legendary 1966 Bayreuth performance. She is well-paired with Kerstin Meyer, whose warm portrayal of Brangäne complements Nilsson beautifully. The real revelation, however, is Silvio Varviso's idiomatic and astonishingly detailed interpretation, although he does rush Nilsson through the climax of the Liebestod.
However, Kenneth Neate does not fully convince in the role of Tristan—while he gets through the part, his performance lacks the depth and nuance needed to match the rest of the cast.
Track List
Act I
1. Vorspiel
2. Westwärts schweift der Blick
3. Mir erkoren, mir verloren
4. Hab acht, Tristan! Botschaft von Isolde.
5. Wie lachend sie mir Lieder singen
6. Welcher Wahn! Welch eitles Zürnen!
7. Auf! Auf! Ihr Frauen!
8. Begehrt, Herrin, was Ihr wünscht
9. War Morold dir so wert
10. Tristan!... Isolde!... Treuloser Holder!
2. Westwärts schweift der Blick
3. Mir erkoren, mir verloren
4. Hab acht, Tristan! Botschaft von Isolde.
5. Wie lachend sie mir Lieder singen
6. Welcher Wahn! Welch eitles Zürnen!
7. Auf! Auf! Ihr Frauen!
8. Begehrt, Herrin, was Ihr wünscht
9. War Morold dir so wert
10. Tristan!... Isolde!... Treuloser Holder!
Act II
11. Vorspiel
12. Hörst du sie noch?
13. Isolde!... Tristan!... Geliebter!
14. O sink hernieder, Nacht der Liebe
15. Einsam wachend in der Nacht
16. Lausch, Geliebter!
17. Doch unsre Liebe, heisst sie nicht Tristan und Isolde?
18. Soll ich lauschen?
19. Tatest du's wirklich?
20. O König, das kann ich dir nicht sagen
21. Verräter! Ha! Zur Rache, König!
12. Hörst du sie noch?
13. Isolde!... Tristan!... Geliebter!
14. O sink hernieder, Nacht der Liebe
15. Einsam wachend in der Nacht
16. Lausch, Geliebter!
17. Doch unsre Liebe, heisst sie nicht Tristan und Isolde?
18. Soll ich lauschen?
19. Tatest du's wirklich?
20. O König, das kann ich dir nicht sagen
21. Verräter! Ha! Zur Rache, König!
Act III
22. Vorspiel
23. Kurwenal! He! Sag, Kurwenal!
24. Die alte Weise; was weckt sie mich?
25. Dünkt dich das?
26. Isolde kommt! Isolde naht!
27. Muss ich dich so verstehn, du alte ernste Weise
28. Die Wunde, die sie heilend schloss
29. Und drauf Isolde, wie sie winkt
30. O Wonne! Freude!
31. O diese Sonne!
32. Ha! Ich bin's, ich bin's
33. Kurwenal! Hör'! Ein zweites Schiff.
34. Mild und leise
23. Kurwenal! He! Sag, Kurwenal!
24. Die alte Weise; was weckt sie mich?
25. Dünkt dich das?
26. Isolde kommt! Isolde naht!
27. Muss ich dich so verstehn, du alte ernste Weise
28. Die Wunde, die sie heilend schloss
29. Und drauf Isolde, wie sie winkt
30. O Wonne! Freude!
31. O diese Sonne!
32. Ha! Ich bin's, ich bin's
33. Kurwenal! Hör'! Ein zweites Schiff.
34. Mild und leise
Customer Reviews
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3.8
Based on 4 reviews
✓ Top Reviewer
United States
Excellent Performance in Very Good Sound!
Nilsson's Isolde needs no recommendation from me. She is in top shape here. Kenneth Neate was already over 50 when this performance was given and had been singing a wide range of roles for a long time. When he doesn't force, he's very effective. Much of the Act Three monologue is sung softly and with a canny knowledge of what his voice can and can't do. If he fails to live up to Nilsson's standard in the Act Two duet (performed with the usual cut), he wouldn't be the first. His voice is under control, his vibrato even with only a few stressful moments. He is the epitome of professionalism.Meyer is a solid Brangäne and Saeden a great Kurvenal. Rundgren's Marke is impressive although he doesn't find as many colors in the role as other singers have. Varviso conducts a tidy performance, making the usual cuts in Act Three. Perhaps it was to assist Neate, but let's face it: it's a long opera and Tristan does go on a bit.The sound is excellent. For Nilsson completists and fans of the other singers
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✓ Verified Buyer
Sweden
✓ Top Reviewer
United States
Nlsson carries the day
This is a marvelous demonstration of how Birgit Nilsson could put "Tristan und Isolde" on her back and carry it across the finish. She is—need it be said?—peerless in her era and shows why here, holding nothing back in her portrayal of the tempestuous Irish maid. She gets able support from Stockholm stalwarts Kerstin Meyer and Erik Saéden, less so from Bengt Rundgren's gray King Marke (he was better at villains). Kenneth Neate's Tristan is some where between adequate and not-quite-tolerable. One wishes the Melot, Helge Brilioth, had graduated to Tristan in time for this performance. Silvio Varviso was a well-traveled Wagnerian but here has no great wisdom to impart. It's Nilsson's show.
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✓ Verified Buyer
France
Birgit at home
I only listened the extract, and it's great. Nilsson is fabulous (what a B natural !), these are the days of her Bayreuth's Isolde with Böhm and Windgassen and the acoustic of the Stockolm Royal Opera has this kind of rumor wich makes the sound large and both precise. Kenneth Neate seems very good, he was a cop in Australia before singing and had a long and various career singing the lyric tenors before taking more dramatic parts.
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