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Tristan und Isolde
Martha Mödl's ability to deliver Isolde's conflicting emotions and passions has never been matched, and she is heard in exemplary form in this 1958 performance from Munich. Hers is an Isolde of unmitigated fire, single-minded in her goals and totally wound up in both her hatred and love of Tristan. She is almost unbearably gripping in the Act I narration and curse, and soulful and transfixed in the Liebestod. Her Tristan, Ludwig Suthaus, has a more conventionally beautiful instrument than his Isolde, and often relies on it a little too much to carry him through. He does, however, manage a brilliantly multi-faceted reading of Tristan's dementia in Act III. Josef Metternich is a bluff, hearty Kurwenal who makes a real impact in Act III, Hertha Töpper's Brangäne is merely serviceable, and Walter Kreppel's firm bass is on hand for Marke's few utterances in Act III. Joseph Keilberth drives the action with precision and delicacy, charting the challenging stillness of the score with aplomb.
Track List
Act I
1. Vorspiel
2. Westwärts schweigt der Blick
3. Wer wagt mich zu höhnen?
4. Hab acht, Tristan!
5. Wie lachend sie mir Lieder singen,
6. Welcher Wahn! Welch eitles Zürnen!
7. Auf! Auf! Ihr Frauen! Frisch und froh!
8. Nun leb wohl, Brangäne!
9. Herr Tristan trete nah!
10. War Morold dir so wert
11. Wo sind wir? Hart am Ziel!
12. Tristan! Isolde!
2. Westwärts schweigt der Blick
3. Wer wagt mich zu höhnen?
4. Hab acht, Tristan!
5. Wie lachend sie mir Lieder singen,
6. Welcher Wahn! Welch eitles Zürnen!
7. Auf! Auf! Ihr Frauen! Frisch und froh!
8. Nun leb wohl, Brangäne!
9. Herr Tristan trete nah!
10. War Morold dir so wert
11. Wo sind wir? Hart am Ziel!
12. Tristan! Isolde!
Act III
13. Vorspiel
14. Kurwenal! he!
15. Die alte Weise
16. Dünkt dich das? Ich weiss es anders
17. O Treue! Hehre, holde Treue!
18. Die nie erstickt, sehnend nun ruht
19. Das Schiff? Siehst du's noch nicht?
20. Ha! Das Schiff! Von Norden seh' ich's nahen
21. O diese Sonne! Ha, dieser Tag!
22. Ha! Ich bin's, ich bin's, süssester Freund!
23. Kurwenal! Hör'! Ein zweites Schiff.
24. Mild und leise wie er lächelt
14. Kurwenal! he!
15. Die alte Weise
16. Dünkt dich das? Ich weiss es anders
17. O Treue! Hehre, holde Treue!
18. Die nie erstickt, sehnend nun ruht
19. Das Schiff? Siehst du's noch nicht?
20. Ha! Das Schiff! Von Norden seh' ich's nahen
21. O diese Sonne! Ha, dieser Tag!
22. Ha! Ich bin's, ich bin's, süssester Freund!
23. Kurwenal! Hör'! Ein zweites Schiff.
24. Mild und leise wie er lächelt
Customer Reviews
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4.3
Based on 3 reviews
✓ Top Reviewer
United States
Excellent Acts One and Three under Keilberth!
Both Modl and Suthaus are in rather faded voice here, but both also demonstrate why they were famous for their interpretations of these roles. Modl is still able to sock out two accurate high B's in her Narrative and Curse and her Liebestod remains a highlight. Since we don't have Act Two I can't tell if she managed the C's or not though even if she avoided them (like Traubel and others) she would still be Modl.Suthaus tends to speak-sing some of his lines, but his Act Three mad scene is very touching. It's also done without cuts. Topper and Kreppel are just fine, Metternich more than that - what a voice! Keilberth knows very well how this score goes and leads a solid performance. The sound is a good mono broadcast for the period. Each act has about a minute of missing music, probably where the tape had to be changed. In Act One, it's from Isolde's "Du irsst, ich kenn' ihn besser" to just after Kurwenal's entrance; in Act Three, from just after Tristan's "Wie schon bist du!" to Kurwenal's announcement that a ship has been spotted.I played this with the Act Two from Geneva with Windgassen and Grob-Prandl (also available from Opera Depot) and enjoyed the three-plus hours tremendously!
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✓ Verified Buyer
France
✓ Verified Buyer
Germany
