Electrola Series-Wagner: Tannhauser

I completely agree with the previous reviewer as to the excellence of this recording. It's a understated work of magnificence. I have listed to about 7 versions, both Paris and Dresden, all of which are quite satisfactory. This Dresden presentation is treated with reverence as it deserves. Slower in tempo than some, that is part of its beauty. The flavor of the voices and music are joined in a marriage of sumptuous sound. The sound quality and separation are top notch and the engineers are to be commended. The artists are in top form and the Berlin State Opera and chorus stand up against the best. Tannhauser was revised often as Wagner was never totally satisfied with it but I think he would smile down on this edition fondly as I do.

The gold standard of Tannhauser Recordings.

I have avoided this venerable recording for years but was encouraged to sample it by the bargain price and recent re-mastering of this re-issue from Warner and I must say that it has a lot going for it.Studio recordings of "Tannhäuser" are thin on the ground; there have been only half a dozen post-war recordings of the original Dresden version and a mere two of the so-called Paris 1861 edition - actually published in Vienna in 1875. Matters are further complicated by the fact that most Dresden versions actually incorporate snippets from Act II of the Paris and often the Bacchanal music, too; in this case Konwitschny includes only the former. Others make stranger choices; Barenboim in the most recent set uses the Dresden version but imports the longer duet for Tannhäuser and Venus into Act I and expunges the ballet music. Of the two Paris versions, the 1970 Solti recording endures as most collectors' favourite by virtue of a superior cast and the fact that Domingo rather mangles the German for Sinopoli in 1988.However, one reason for preferring a more or less faithful recording of the 1847 version of the Dresden score - Wagner made changes after the 1845 première - is that it is more stylistically coherent than the Paris version, into which Wagner grafted the new harmonic and chromatic musical language he had been developing in the sixteen year interim with the result that there is considerable, audible disparity between the two styles. This was a fact that Wagner recognised shortly before his death when he expressed regret that he had not produced a new and definitive revision of "Tannhäuser". So if you want his first thoughts this 1960 Konwitschny recording is where to go, even if you will inevitably find yourself missing the best Venusberg music. Compensation comes from the restoration of the aria for Walter, here sung with typical heady beauty by Fritz Wunderlich and correspondingly rather less of Marianne Schech, who lacks the smoky allure and voluptuousness ideally required to depict the Goddess of Love, qualities which artists such as Bumbry and Ludwig certainly brought to the role. Her Venus is sometimes rather shrill and prosaic, but I don't want to overdue that criticism; it's just that the voice sits tonally rather high. She made a good Senta for the same conductor in that same year; in fact four of the artists here starred in that excellent "Der Fliegende Holländer". Schech had a decidedly full recording contract in 1960 as she also found time to give conductor Böhm a credible, nervy Chrysothemis in his "Elektra" - also a great recording.The other controversial piece of casting is Hans Hopf as our eponymous (anti-?) hero. He has a sturdy, baritonal tenor with little intrinsic beauty and which occasionally turns throaty; he can be clumsy and wooden in his phrasing, sometimes yells and "lifts" into top notes, and he lacks good legato - all of which sounds damning, but in fact he has the stamina and the notes and is adequate without ever sounding elegant. It is also only fair to observe that he has his worst moments in the opening duet, which can be off-putting, and his best right at the end of the work in his Rome Narrative, He is first steady and melancholy, then impassioned and intense when he comes to the Pope's pronouncement that he is irredeemably damned.Otherwise, the cast is unimpeachable: I note that other reviewers like me who are not necessarily generally fans of Fischer-Dieskau give him credit for the sensitivity of his portrayal of Wolfram. His youthful baritone might not have the heft or bite ideal in a Wagner voice of the Terfel-George London type but he is most mellifluous and largely free of both the dryness of tone and mannerisms which accrued through his career, caressing "O du, mein holden Abendstern" very winningly and intelligently. Gottlob Frick makes a grave, sonorous Landgrave, while the wonderful Elisabeth Grümmer rivals Janowitz in purity of tone as Elisabeth and gives a performance to match her Elsa for Kempe in the "Lohengrin" studio recording a couple of years later.Konwitschny takes a fairly stately, conventional view of the score and lacks Solti's drive and dynamism but the Berlin Staatsoper orchestra plays beautifully, just as the chorus emerge as stars in themselves, their singing is so nuanced.The sound has come up really well, enhancing what was already a good recording for its time: as in the Solti recording from Decca ten years later, there are some lovely spatial effects such as the bells in Act I, the approach of the pilgrims in Act III and the distant Venusberg music at the end.I no longer expect a physical libretto these days of cheap re-packaging and electronic versions but why this "Cologne Collection" omits to provide even a plot synopsis baffles me. Still, this remains the best recommendation unless you favour a live recording from such as Sawallisch, Karajan or Kempe, although then you'd need to compromise on sound quality.

I have avoided this venerable recording for years but was encouraged to sample it by the bargain price and recent re-mastering of this re-issue from Warner and I must say that it has a lot going for it.Studio recordings of "Tannhäuser" are thin on the ground; there have been only half a dozen post-war recordings of the original Dresden version and a mere two of the so-called Paris 1861 edition - actually published in Vienna in 1875. Matters are further complicated by the fact that most Dresden versions actually incorporate snippets from Act II of the Paris and often the Bacchanal music, too; in this case Konwitschny includes only the former. Others make stranger choices; Barenboim in the most recent set uses the Dresden version but imports the longer duet for Tannhäuser and Venus into Act I and expunges the ballet music. Of the two Paris versions, the 1970 Solti recording endures as most collectors' favourite by virtue of a superior cast and the fact that Domingo rather mangles the German for Sinopoli in 1988.However, one reason for preferring a more or less faithful recording of the 1847 version of the Dresden score - Wagner made changes after the 1845 première - is that it is more stylistically coherent than the Paris version, into which Wagner grafted the new harmonic and chromatic musical language he had been developing in the sixteen year interim with the result that there is considerable, audible disparity between the two styles. This was a fact that Wagner recognised shortly before his death when he expressed regret that he had not produced a new and definitive revision of "Tannhäuser". So if you want his first thoughts this 1960 Konwitschny recording is where to go, even if you will inevitably find yourself missing the best Venusberg music. Compensation comes from the restoration of the aria for Walter, here sung with typical heady beauty by Fritz Wunderlich and correspondingly rather less of Marianne Schech, who lacks the smoky allure and voluptuousness ideally required to depict the Goddess of Love, qualities which artists such as Bumbry and Ludwig certainly brought to the role. Her Venus is sometimes rather shrill and prosaic, but I don't want to overdue that criticism; it's just that the voice sits tonally rather high. She made a good Senta for the same conductor in that same year; in fact four of the artists here starred in that excellent "Der Fliegende Holländer". Schech had a decidedly full recording contract in 1960 as she also found time to give conductor Böhm a credible, nervy Chrysothemis in his "Elektra" - also a great recording.The other controversial piece of casting is Hans Hopf as our eponymous (anti-?) hero. He has a sturdy, baritonal tenor with little intrinsic beauty and which occasionally turns throaty; he can be clumsy and wooden in his phrasing, sometimes yells and "lifts" into top notes, and he lacks good legato - all of which sounds damning, but in fact he has the stamina and the notes and is adequate without ever sounding elegant. It is also only fair to observe that he has his worst moments in the opening duet, which can be off-putting, and his best right at the end of the work in his Rome Narrative, He is first steady and melancholy, then impassioned and intense when he comes to the Pope's pronouncement that he is irredeemably damned.Otherwise, the cast is unimpeachable: I note that other reviewers like me who are not necessarily generally fans of Fischer-Dieskau give him credit for the sensitivity of his portrayal of Wolfram. His youthful baritone might not have the heft or bite ideal in a Wagner voice of the Terfel-George London type but he is most mellifluous and largely free of both the dryness of tone and mannerisms which accrued through his career, caressing "O du, mein holden Abendstern" very winningly and intelligently. Gottlob Frick makes a grave, sonorous Landgrave, while the wonderful Elisabeth Grümmer rivals Janowitz in purity of tone as Elisabeth and gives a performance to match her Elsa for Kempe in the "Lohengrin" studio recording a couple of years later.Konwitschny takes a fairly stately, conventional view of the score and lacks Solti's drive and dynamism but the Berlin Staatsoper orchestra plays beautifully, just as the chorus emerge as stars in themselves, their singing is so nuanced.The sound has come up really well, enhancing what was already a good recording for its time: as in the Solti recording from Decca ten years later, there are some lovely spatial effects such as the bells in Act I, the approach of the pilgrims in Act III and the distant Venusberg music at the end.I no longer expect a physical libretto these days of cheap re-packaging and electronic versions but why this "Cologne Collection" omits to provide even a plot synopsis baffles me. Still, this remains the best recommendation unless you favour a live recording from such as Sawallisch, Karajan or Kempe, although then you'd need to compromise on sound quality.

This was recorded in 1960 in excellent stereo sound, rich, full and clear. No excuses need making for the quality of the sound.At one stage it was fashionable to decry this recording, mainly due to the Tannhauser and Venus, with some also pitching in to condemn Fischer-Dieskau. Those days appear, happily, to be over, as music lovers, rather than professional critics, review the recording, having listened to it without preconceptions.Hans Hopf was a proper heldentenor of the post-war era, a big name in his time. His voice is much bigger and more robust than Windgassen's ever was. He has all the notes and plenty of power when required. He may lack the last ounce of flexibility, but his performance here is impressive.The two female leads are both excellent, Schech and Grummer both in their prime, and both with very impressive instruments. D F-D and Frick are both superlative, quite unsurpassed. This was a proper golden age of Wagner singing. The smaller parts are luxuriously cast, there are no weak links in the soloists.The chorus is very impressive indeed, powerful, musical and bang together and in tune. The orchestra play superbly from start to finish, with some special effects to enhance the appeal, off-stage brass, bells etc.At the heart of the performance is Franz Konwitschny, who masterfully guides the drama, choosing tempi which always seem just right, neither ponderous or too rapid.This set is now offered at a very low price, excellently mastered. Ignore the older grouchy professional reviewers from the 60s/70s, and enjoy this recording for the musical feast it really is.I also recommend the Solti version of the Paris Version on Decca. The Bayreuth Sawallisch version has many fine qualities, but the Konwitschny is, in my opinion, the much finer recording and better performance overall.I never feel that Domingo is other than mis-cast in German opera, he always sound Italianate, never Teutonic, and strains manfully against nature in German opera, be it Wagner or anyone else. Sinopoli's set is not helped by his contribution. Haitink is safe and sound, as ever, but the really stand-out Tannhausers are Solti and this Konwitschny recordings.

Decades ago I purchased an LP of Wagner excerpts with Elizabeth Grummer's "Dich teure halle" which I always adored. Tannhauser is not one of my favourite Wagner operas and so I put off purchasing a CD set until I happened upon excellent reviews of this remastering of Konwitschny's recording. Much here is to be praised, especially Grummer's glorious voice, the velvet gravel bass of the great and much missed Gottlob Frick and especially Konwitschny's pacing and the sounds he draws from his Berlin orchestra. But - and for me it is an almighty 'but' - even with so many excellent parts, the whole opera falls flat as a result of the leaden, gruff, boorish-sounding Tannhauser of Hans Hopf. He may have been one of the foremost heldentenors of his day but from his opening bars he chugs through this Tannhauser with little beauty of tone, pushing to reach some of the high notes and sounding desperately tired. I also feel he is placed too close to his microphone in comparison to the others. In his mid-40s when the recording was made, he should have been in his prime. Instead he sounds almost burned-out as though at the end of his career! I wish I could recommend it but for me he just ruins this recording.

This recording of the Dresden version has always been my favourite. The cast is of a calibre that would be almost impossible to assemble today .Hans Hopf is not the most imaginative of Tannhauser's and is vocally the weakest member of the cast. Though you cant say his voice is weak. He has a strong rather covered toned heldentenor its just that in such august company he does not use it with much finesse . His seducer Venus is sung by a soprano rather than the usual mezzo in this role. Marianne Schech does not have the lush sounds of a Christa Ludwig or Grace Bumbry, but as always with this singer you hear every word, she has excellent diction. This is also Venus that sounds younger than usual and really angry that Tannhauser is leaving her. She is not a lady to mess with. The Elisabeth of Elisabeth Grummer is an Elisabeth to die for, her beautiful voice and total identification with the role is perfection. There are other good Elisabeth's on record but none can eclipse Grummer. Dietrich Fischer-Dieskau is a wonderful Wolfram beautiful phrasing and characterisation . This is a role that suited him to perfection. Gottlob Frick brings his huge dark voice to the role of Hermann Landgraf, he sounds genuinely concerned for Elisabeth, and shows that he is not only capable of playing villains in The Ring. With Fritz Wunderlich and Gerhard Unger in smaller roles this is really a starry cast Tannhauser. My favourite singer of the title role would be Peter Seiffert, but his recording is let down by a miscast Elisabeth. The recording from 1960 is brilliantly conducted by Franz Konwitschny as is his Fliegender Hollander. The sound is rich detailed and spacious, and will always have a place in my collection.

Among all my recordings of Wagner operas, this is one of my very favourite. The voices are beautiful, the sound quality is rich and full and the music is brought to life with a terrific energy.I find that some operas have to be watched - the music on its own isn't interesting enough to listen to. I don't know how much the credit goes to Tannhauser and how much to the recording, but with this one I can sit down and listen to the whole of it without ever finding myself waiting for the interesting bits.

This EMI CD set is a proper remastering of the classic LP version and is ABSOLUTELY BRILLIANT and the same as the original, without the LP changeovers. Don't buy the Warner Classic version as this appears to just be a transfer from LPs as some tracks are either faded out or end quickly as the engineers turn their LP over !

This early stereo recording from 1960 now on CD at a bargain price , contains singing of a standard not likely to be experienced todayThe balance overall is very good for its time ,however the soloists are occasionally forward balancedThe overall effect I find quite thrilling !Recommended

dont need to mention all the stars - but must be worth it for DFD alone in perfect form and he must have been given rehersal time.chorus annd orchestra absolutely amazing.

Excellent!

Very good recording

Excellent

Wonderful, just as I hoped.

Edizione del 1960 - la Deutsche Oper di Berlino è sotto la direzione del grande Franz Konwitschny , con un cast di ottima riuscita. Abbiamo quasi il meglio dei cantanti wagneriani di quegli anni: GRUMMER - HOPF - D.FISCHER DIESKAU - FRICK. Ottima direzione, spirito wagneriano espresso al meglio. Del Maestro Concertatore e Direttore d' Orchestra non c'è tanto sul mercato, soprattutto per via della sua vita musicale espressa con il Gewandhaus di Lipsia, che allora era al di là del "Muro" e questa registrazione può essere una buona occasione per conoscerlo!

La mejor version Dresde,fue mi primer Tannhauser en lp alla por 1980...Genial Dieskau y Grummer.Espe tacular 3 acto. Para Paris Solti. On mis 2 tannhauser.Gracias a Amazon por tener esta joya ya que no la encontraba donde vivo. Gran servicio.

This classic set has always received mixed reviews, mostly because of the perceived limitations of the lead tenor, Hans Hopf. I have no reservations about his voice at all; he's a throwback to the golden age of heldentenors, when audiences thrilled to the sounds of big, macho, baritonal Wagnerian male voices. Hopf is just such a tenor. Fischer Dieskau is perfect as Wolfram; it's the part he was born to play! And Grummer is the best of all possible Elisabeths. If you want the Dresden version, this is the one to get (better than Barenboim's less idiomatic set from the '90s, in my opinion).