Love Duet - Tristan und Isolde - English Subtitles - Liebesnacht - Act 2 - Meier - Jerusalem

[@kambiztaghavi]

These singers are Genius! The music is not stable tonal, it circles every few seconds, there is not a firm center of gravity , no base tone that you can remember and it disappears very soon if any ! The Chromatic Harmony , the polytonal music , make it the most difficult long Aria . The 3rd act is even harder to sing .The gates of Atonal music is opening !

[@Albrecht-to9lm]

Wagner ist der König von wahnsinniger Schönheit! Danke.🙏

[@honeyinglune8957]

19:05 and then just white. The thought of white. Without more

[@honeyinglune8957]

terrifying. wagner is clearly a pessimist

[@moltovivace]

He followed this up with "Die Meistersinger von Nürnberg" for the optimists out there!

[@recidischiabrasivi7960]

La fredda materia ci circonda nell'oscura realta'. Attimi di armonia, come riflessi d'aurora . Danno calore all'animo.

[@brianbritchie8710]

To be one in love for eternity. Pessimism?

[@robertozamora-yq3pv]

los optiimistas tienen los ojos cerrados

[@rafaelbelacortu9688]

¿PUEDE SER CON SUBTITULOS EN CASTELLANO¿

[@moltovivace]

¡Agregué los subtítulos en español!

[@alanalonsogonzalez4109]

​@@moltovivace Gracias ❤

[@luca-zt6md]

Good, but I think that Baremboim hasn't managed to create the sacred, sublime and mythical atmosphere we perceive with Furtwängler. Brangania's warning, for instance, is one of the most beautiful moments in the history of music, but in this recording it dosn't make me touched.

[@moltovivace]

Furtwängler is certainly one of the best recordings for the reasons you mention. Unfortunately the audio quality is lacking and the orchestral color is lost (Flagstad almost makes up for this deficiency, but not quite). I did make a version of the "short" duet with Furtwängler here: kzbin.info/www/bejne/kH3IfnZshJ2Xa9E I may make a version of this video with Furtwängler in the future. It certainly deserves it!

[@CouchieWouchie]

Brangane's warning is a mere 2 minutes of this 40 minute recording and Furtwangler's highlight does not make up for its many faults. The orchestral sound on the Furtwangler is extremely poor. His tempo is too slow for what should be an ecstatic duet of two lovers.

[@luca-zt6md]

@@CouchieWouchie As regards Furtwängler, we have to consider the low quality of recordings in 1952. Morover, I think that tempo is a question of personal taste: if you listen Wagner's works conducted by Knappertsbusch, you will note that the tempo is very slow, more than every other performance of the same works: you can like or dislike it, but it's an interpretation of the conductor, and it's the same for Liebesnacht: both Barenboim and Furtwängler gave their interpretation, that you can like or dislike...for example, i don't like very much Barenboim's one. We also have to consider that in Furtwängler's recording Isolde was played by Kirsten Flagstad, who is universally regarded as one of the best wagnerian sopranos ever. Furthermore, I think that, if I say that Brangania's warning is one of my favorite passages in all the music I have ever listened and you disagree, it isn't a good reason to say that I don't understand this music.

[@CouchieWouchie]

​@@luca-zt6md Bohm's Tristan is 3.6 hours, Barenboim's is 4 hours, and Furtwängler's is 4.3 hours. Those are kind of the extremes of the Tristans we have available. I agree Furtwängler's is sublime, but if that is your benchmark recording you are going to find almost every other recording rushed. Barenboim is close to the "average" and his pacing is what I would consider the benchmark for Tristan's pacing. Bohm on the other hand, is too quick, the singers struggle to get all the words out, particularly in the wordy first half of this duet. Wagner is not just music, he is also poetry. He even called his librettos poems. In the Furtwängler I find the "beat" of the poetic meter is lost because it is so stretched out beyond speaking pace into pure singing. In the Barenboim this poetic meter accompanied by orchestral beat is preserved and properly accentuates the libretto text to keep things moving along.

[@luca-zt6md]

@@CouchieWouchie I understand your reasoning: Barenboim manages to find that balance between poetry and music that is unbalanced in the performances of Bohm and Furtwangler. Unfortunately there was this misunderstanding due to the fact that in my comment, especially regarding Brangania's warning, I was referring only to the music and not to the poetic text, which however, as you have underlined, is equally important.