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Tristan und Isolde
One of the musical landmarks of the Bayreuth Festival in the 1970s was a new production of Tristan und Isolde originally conducted by the electrifying Carlos Kleiber and featuring Catarina Ligendza and Spas Wenkoff in the title roles. By the time the production returned in 1977, Horst Stein had assumed conducting duties. While Stein never inspired the same cult devotion as Kleiber, his interpretation is no less musically rewarding—an illuminating study in what a different conductor can draw from the same score.
Stein's reading is less iconoclastic and more faithful to Wagner's written instructions, offering fewer surprises but providing a broad romantic sweep and a deeply expressive orchestral sound that captures the longing and anguish at the heart of the opera. The cast is excellent across the board. Spas Wenkoff brings a rare blend of lyricism and extraordinary breath control to Tristan, qualities not often encountered in this repertoire. Catarina Ligendza has a tentative start in Act I but grows into the role with assurance, ultimately delivering a radiant Liebestod.
Yvonne Minton is a youthful, warm-voiced Brangäne, while Donald McIntyre shows admirable range as Kurwenal—brash in Act I and touchingly tender in Act III. Karl Ridderbusch brings noble gravitas to King Marke's lament, and Siegfried Jerusalem makes a luxurious cameo as the young seaman.
Track List
Act I
1. Vorspiel
2. Westwärts schweift der Blick
3. Mir erkoren, mir verloren
4. Hab acht, Tristan! Botschaft von Isolde
5. Weh, ach wehe! Dies zu dulden!
6. Wie lachend sie mir Lieder singen
7. Welcher Wahn, welch eitles Zürnen!
8. Auf! Auf! Ihr Frauen!
9. Herr Tristan trete nah!
10. War Morold dir so wert
11. Tristan!... Isolde!... Treuloser Holder!
2. Westwärts schweift der Blick
3. Mir erkoren, mir verloren
4. Hab acht, Tristan! Botschaft von Isolde
5. Weh, ach wehe! Dies zu dulden!
6. Wie lachend sie mir Lieder singen
7. Welcher Wahn, welch eitles Zürnen!
8. Auf! Auf! Ihr Frauen!
9. Herr Tristan trete nah!
10. War Morold dir so wert
11. Tristan!... Isolde!... Treuloser Holder!
Act II
12. Hörst du sie noch?
13. Nicht Hörnerschall tönt so hold
14. Isolde!... Tristan! Geliebter!
15. Dem Tage! Dem Tage! Dem tückischen Tage
16. O sink hernieder, Nacht der Liebe
17. Einsam wachend in der Nacht
18. Lausch, Geliebter!
19. Doch unsre Liebe, heißt sie nicht Tristan
20. O ew'ge Nacht, süße Nacht!
21. Tatest du's wirklich?
22. O König, das kann ich dir nicht sagen
23. Verräter! Ha! Zur Rache, König!
13. Nicht Hörnerschall tönt so hold
14. Isolde!... Tristan! Geliebter!
15. Dem Tage! Dem Tage! Dem tückischen Tage
16. O sink hernieder, Nacht der Liebe
17. Einsam wachend in der Nacht
18. Lausch, Geliebter!
19. Doch unsre Liebe, heißt sie nicht Tristan
20. O ew'ge Nacht, süße Nacht!
21. Tatest du's wirklich?
22. O König, das kann ich dir nicht sagen
23. Verräter! Ha! Zur Rache, König!
Act III
24. Vorspiel
25. Kurwenal! He! Sag, Kurwenal!
26. Die alte Weise was weckt sie mich?
27. Dünkt dich das?
28. Isolde kommt! Isolde naht!
29. Muß ich dich so verstehn
30. Und drauf Isolde, wie sie winkt
31. O diese Sonne!
32. Ha! Ich bin's, ich bin's
33. Kurwenal! Hör! Ein zweites Schiff
34. Tot denn alles!
35. Mild und leise
25. Kurwenal! He! Sag, Kurwenal!
26. Die alte Weise was weckt sie mich?
27. Dünkt dich das?
28. Isolde kommt! Isolde naht!
29. Muß ich dich so verstehn
30. Und drauf Isolde, wie sie winkt
31. O diese Sonne!
32. Ha! Ich bin's, ich bin's
33. Kurwenal! Hör! Ein zweites Schiff
34. Tot denn alles!
35. Mild und leise
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5.0
Based on 3 reviews
✓ Top Reviewer
Spain
✓ Top Reviewer
United States
Magnificent Performance in Great Sound!
For whatever reason Carlos Kleiber did not return for the 1977 Bayreuth Festival performances of Tristan und Isolde so Wolfgang Wagner engaged Horst Stein. He keeps the pace steady and flowing, but never rushes or grandstands. An uncut Tristan in the wrong hands can be a drag; here it never seems that way.Ligendza is a tremendously good Isolde. If she lacks the individuality of a Varnay or a Mödl, she is always responsive to the words. Her rage in Act One is as scorching as her passionate love and devotion is melting in the rest of the opera. She meets every vocal test head on and emerges with flying colors. Wenkoff is an equally good Tristan, especially in his long (too long?) monologues in the last act. His voice is steady and sure throughout without any of the wobbly, strained tones of most contemporary Tristans. Minton's high mezzo is perfectly suited to Brangäne. Her Watch in Act Two sounds like she may have been onstage, rather than off in the wings. McIntyre is a first-rate Kurwenal, obnoxious and churlish in Act One, loving and insane in Act Three. Ridderbusch sings his long monologue like a Schubert ballad with great attention to the words; his vibrato had become looser by this time, but he's still a true king. And what a treat to hear Siegfried Jerusalem's beautiful tenor as the Young Sailor before Time wore off the enamel on his tone.The sound is excellent. There's a tiny bit of music missing in each act where (presumably) the tape had to be turned over.
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✓ Verified Buyer
Japan
Anonymous
A fearless, incandescent performance.Really glad to have been able to get this at length. Thank you, Andy.
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