Tristan und Isolde Braun Treptow Klose Knappertsbusch Munich 1950 LIVE

Tristan und Isolde Braun Treptow Klose Knappertsbusch Munich 1950 LIVE
Hans Knappertsbusch Bayerische Staatsoper
Tristan - Günther Treptow
Isolde - Helena Braun
Brangaene - Margarete Klose
Marke - Ferdinand Frantz
Kurwenal - Paul Schöffler
Melot - Albrecht Peter
Hirt - Paul Kuen
Steuerman - Fritz Richard Bender
Stimme eines jungen Seemanns - Fritz Richard Bender
Wagner

[@PhilippeRR1]

One of the very best TRISTAN UND ISOLDE ever!

[@aliena2979]

The great Kna makes a good pair of singers sound sublime.

[@xaviersales]

Gracias por compartir esta belleza sublime

[@Pacabelle]

The most sublime moment starts when Helena Braun opens her mouth with a warm, full lyric soprano voice with considerable agility and a secure top - 1:43:49

[@alexanderzaphir721]

Very good.one of the best.Nobody had the vocal projection of Prandl,but here H.Braun is superb,a very warm &big voice.Modl was good as a very tragic Isolde (but too soon her technique betrayed her) Knap here is really inspired. He adored Tristan & Parsifal so much

[@remomazzetti8757]

No one had the production of Prandl? Are you kidding? Perhaps you never heard of Kristen Flagstadt who could blow Prandl or anyone else off the stage, and she had a far more beautiful voice.

[@samitobribiesca6320]

EXCELLENT, MERAVEILLEUSE ENVOÛTANT ÈPOUSUFLANT SANS-MOTS CHEF -D'ŒUVRE , CAPTIVANT GRANDE MERCI !!!

[@hiramantoniocastrocarvajal3241]

One of my favourites!

[@davidhansel897]

Thank you for posting this! Act 1: 10:00 Act 2: 1:20:58 Act 3: 2:36:57

[@mohsenarambon]

Thanks

[@ilirllukaci5345]

I believe that artists often do not know what they can do best: they are too vain. They are intent on something prouder than these small plants seem to be which grow on their soil, new, strange and beautiful, in real perfection. What is ultimately good in their own garden and vineyard they esteem lightly, and their love and insight are not equal. There is a musician who, more than any other musician, is a master at finding the tones in the realm of suffering, depressed, and tortured souls, at giving language even to mute misery. None can equal him in the colors of late fall, oh the indescribably moving happiness of the last, truly last, truly shortest joy; he knows a sound for those quiet, disquieting midnights of the soul, where cause and effect seem to be out of joint and where at any moment something might originate "out of nothing." He draws most happily of all out of the profoundest depth of human happiness, and, as it were, out of its drained goblet, where the bitterest and most repulsive drops have finally and evilly run together with the sweetest. He knows that weariness of the soul which drags itself, unable to leap or fly any more, even to walk; he masters the shy glance of concealed pain, of understanding without comfort, of the farewell without confession; indeed, as the Orpheus of all secret misery he is greater than any, and some things have been added to the realm of art by him alone, things that had hitherto seemed inexpressible and even unworthy of art-the cynical rebellion, for example, of which only those are capable who suffer most bitterly, also some very minute and microscopic aspects of the soul, as it were the scales of its amphibian nature-indeed, he is the master of the very minute. But he does not want to be that! His character prefers large walls and audacious frescoes! ... It escapes him that his spirit has a different taste and inclination-the opposite perspective-and prefers to sit quietly in the nooks of collapsed houses: there, hidden, hidden from himself, he paints his real masterpieces, all of which are very short, often only one beat long-only then does he become wholly good, great, and perfect, perhaps there alone.- Wagner is one who has suffered deeply-that is his distinction above other musicians.- I admire Wagner wherever he puts himself into music. - (Nietzsche.)

[@ilirllukaci5345]

Clearly the reference was to Tristan. He could not escape this work. This is my favorite recording. Of my favorite composition.

[@horiaganescu3948]

Thank you very much for posting this treasure! Great Wagner singing and conducting! By the way, the name of the mezzo-soprano singing Brangaene is Margarete Klose (not Klos).

[@vladimirstasov6671]

Thanks for noticing the typo.

[@BalbirSingh-gr2qk]

Great.

[@rainerhugo]

Eine extrem Stimmt gewaltige Isolde

[@gaulandisteinverbrecherisc6259]

I must admit that Treptow is not my favorit Tristan, but this is a very fine uncut Live performance with a good cast. The part of Tristan will always be a problematic. I would have prefered Suthaus or Lorenz.

[@vector8310]

A normally ponderous conductor of Wagner gave us one of the swiftest Tristans.

[@rev.markcarrier1894]

I only know Kna from his Parsifals, which calls for a fairly ponderous approach. His Parsifal Act 2 is vigorous when it needs to be.

[@ransomcoates546]

The qualities that make Kna’s ‘Parsifal’ so great for me don’t translate well to other Wagner operas. This performance is just, well, stagnant. (Braun’s singing in big whoops and often flat doesn’t help.)

[@famiredo]

23.07.1950

[@charliew7370]

She sang the wrong line on "Sind es Wellen sanfter Lüfte?"

[@lohsemichael6398]

Nun ja, das Leben ist zu kurz für einen durchschnittlichen Tristan.

[@peterhelbich3334]

this is gods music.......wagner was not an atheist........no great music was ever composed by an atheist......facts and love from vienna austria

[@alexsandroalvesartecultura5116]

Melhoras! Procure um psicanalista.

[@petatap3737]

Ahhh... KZbin logic ..

[@vector8310]

You’re either a troll or lost your grip on reality. Good luck with all that.

[@antoniomartinazzo5847]

I love your confidence in these bold statements.

[@petatap]

very good, but Treptow is the weak point here...

[@erstenorn]

absolutely.