Wagner - Tristan und Isolde: Prelude & Liebestod (Kirsten Flagstad - Ct.rc.: Wilhelm Furtwängler)

[@classicalmusicreference]

Wagner: Tristan und Isolde by Wilhelm Furtwängler (2023 Remastered, Studio 1953) ***Listen to our latest mastering update (2023)*** : bit.ly/43uyYFI 🎧 Qobuz bit.ly/45QPGAn Apple Music apple.co/3WZXxYD 🎧 Amazon Music amzn.to/3WTf6JE Tidal bit.ly/3J4IHKv 🎧 Deezer bit.ly/3CgCnvz Spotify spoti.fi/3J1JQ5H 🎧 SoundCloud - KZbin Music bit.ly/3CgXgHe 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... Wilhelm Richard Wagner (1813-1883) - Tristan und Isolde : Romantic Opera in Three Acts 00:00 Prelude & Liebestod Tristan : Ludwig Suthaus Isolde : Kirsten Flagstad Brangäne : Blanche Thebom König Marke : Josef Greindl Kurwenal : Dietrich Fischer-Dieskau Seemann : Rudolf Schock Hirt : Rudolf Schock Melot : Edgar Evans Steuermann : Rhoderick Davies Chorus of the Royal Opera House, Coven Garden Chorus Master : Douglas Robinson Philharmonia orchestra WILHELM FURTWÄNGLER Recorded in 1952 New mastering in 2017 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Recorded in 1952, Furtwängler's Tristan is considered a monument in the history of recordings. Even today, it undeniably represents something unique. But sometimes, secretly, we wonder whether memory embellishes, whether legend covers up reality. Don't our tastes change from day to day, and with them our value scales? Don't we sometimes question what we loved only yesterday? Excessive sentiment, for example. Moreover, advances in sound technology have made us more demanding, and perhaps a little deaf to old recordings. But now, after more than five hours of immersing ourselves in the score, we suddenly realize how little these "advances" mean: from the very first bar, Furtwängler's ample, structured conducting imposes itself on us by its grandeur. It carries us along with it to the point of making us totally forget the minor imperfections of the mono. After all, there's even a certain charm in this return to "natural" sound after all the make-up and artifice that followed. Can we take offence at the famous "Ut" that Elisabeth Schwarzkopf had to sing in place of Kirsten Flagstad to compensate for the latter's failure? Honestly, no, because this little cheat is nothing compared to the "manipulations" that are now commonplace and perfectly acceptable. It's all secondary. The same applies to the orchestra. The Philharmonia Orchestra, which has no experience of Wagner, certainly doesn't have the sound of the Berlin Philharmonic in this repertoire. But what Furtwängler achieves is of such musical quality that this objection no longer carries any weight. The same applies to the RAI Orchestra's recording of the Ring. We consider this Ring recording to be a must-have for any record library, at least if the collector attaches more importance to the musical achievement than to its quadraphonic recording technique. The most fascinating feature of this recording of Tristan is certainly its formidable unity: far from being overly concerned with the perfection of detail, Furtwängler never loses sight of the work as a whole: witness the beautiful tension of the curves and the way the parts are linked. One more thing: at no point do we feel the need to discuss the interpretation of one passage or another, so sure was Furtwängler of what he wanted, so convincing is his direction. His sense of music never allowed itself to be trapped by aestheticism. It blazes, burns, flames without artifice. It is unthinkable for Furtwängler to stop at a "beautiful polish". On the other hand, the great progressions and climaxes have an incomparable dramatic force. Richard Wagner PLAYLIST (reference recordings): kzbin.info/www/bejne/eJjYdmyFnb-HiLc

[@retf054ewte3]

the most glorious music ever

[@discurio]

Among the major recordings of Kirsten Flagstad, the complete Tristan und Isolde with Furtwängler recorded in 1952 is considered the finest representation of her interpretive art in its maturity. It is widely regarded as one of the greatest recordings of all times.

[@jesustovar2549]

Esplendida maravilla, esta fue la primera versión que escuché de Tristán y probablemente sea mi favorita desde que escuché el preludo, que dulce la voz de Kristen Flagstad, de verdad que me llena del alma, a veces de lágrima, gracias Wagner, a Furtwängler y Flagstad por esta magnífica grabación, por cierto el Liebestod justo antes de llegar al climax me recuerda mucho a la música de fuego mágico de La Valquiria.

[@columbray]

A transcendent performance that sets the standard for all time.

[@conw_y]

Incredible singer! And Furtwangler is a force of nature.

[@classicalmusicreference]

Recorded in 1952, Furtwängler's Tristan is considered a monument in the history of recordings. Even today, it undeniably represents something unique. But sometimes, secretly, we wonder whether memory embellishes, whether legend covers up reality. Don't our tastes change from day to day, and with them our value scales? Don't we sometimes question what we loved only yesterday? Excessive sentiment, for example. Moreover, advances in sound technology have made us more demanding, and perhaps a little deaf to old recordings. But now, after more than five hours of immersing ourselves in the score, we suddenly realize how little these "advances" mean: from the very first bar, Furtwängler's ample, structured conducting imposes itself on us by its grandeur. It carries us along with it to the point of making us totally forget the minor imperfections of the mono. After all, there's even a certain charm in this return to "natural" sound after all the make-up and artifice that followed. Can we take offence at the famous "Ut" that Elisabeth Schwarzkopf had to sing in place of Kirsten Flagstad to compensate for the latter's failure? Honestly, no, because this little cheat is nothing compared to the "manipulations" that are now commonplace and perfectly acceptable. It's all secondary. The same applies to the orchestra. The Philharmonia Orchestra, which has no experience of Wagner, certainly doesn't have the sound of the Berlin Philharmonic in this repertoire. But what Furtwängler achieves is of such musical quality that this objection no longer carries any weight. The same applies to the RAI Orchestra's recording of the Ring. We consider this Ring recording to be a must-have for any record library, at least if the collector attaches more importance to the musical achievement than to its quadraphonic recording technique. The most fascinating feature of this recording of Tristan is certainly its formidable unity: far from being overly concerned with the perfection of detail, Furtwängler never loses sight of the work as a whole: witness the beautiful tension of the curves and the way the parts are linked. One more thing: at no point do we feel the need to discuss the interpretation of one passage or another, so sure was Furtwängler of what he wanted, so convincing is his direction. His sense of music never allowed itself to be trapped by aestheticism. It blazes, burns, flames without artifice. It is unthinkable for Furtwängler to stop at a "beautiful polish". On the other hand, the great progressions and climaxes have an incomparable dramatic force. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr

[@moiseshernandrezgutierrez8981]

Very good, thank you very much.

[@classicalmusicreference]

You're welcome !

[@DanielMasmanian]

Magnificent. Thank you so much.

[@rolandonavarro3170]

La cúspide del arte wagneriano está en esta histórica grabación. Bravo 👏👏

[@ingemayodon5128]

Einfach wunderschön! Besitze die gesamte Aufnahme mit Furtwängler arrangiert in einer speziellen "Buchausgabe" , wenn man das so nennen kann, mit den Erklärungen für die gesamte Oper. Ein sehr großzügiges Geschenk von Freunden für meinen Geburtstag. Bin ihnen ewig zu Dank verpflichtet. Vielen Dank für diese Sendung und LG aus Montréal, Qc, Canada

[@ulrichraisch3437]

Eine der besten Referenz-Aufnahmen neben Karl Böhm und Carlos Kleiber !!!

[@Danielap4513]

Grazie per il Tristano e per la gigante Flagstad

[@canman5060]

Best of the best.

[@aidan4624]

You guys should do Kleiber’s Tristan! The two greatest Tristan recordings are Furtwangler’s and Kleiber’s in my opinion.

[@andreeraybaud1176]

Je ne connais pas aujourd'hui de cantatrices qui égalent les grandes voix de cette époque

[@a.f.4248]

Cherchez bien, il y en a. « C’était mieux avant », on le disait déjà du temps des « cantatrices de cette époque ».

[@hostlangr]

@@a.f.4248, welcher Sänger könnte *live* vor einem Publikum mit über 30 000 Menschen heute ein *ganzes Konzert* geben ohne Mikrofon und Verstärker - *nur mit seiner Stimme* und Orchester? Enrico Caruso brachte es zustande - mit Beifallsstürmen! Kirsten Flagstad hatte auch eine gewaltige Stimme zur Verfügung, die z.B. die *Wiener Philharmoniker in großes Erstaunen* versetzen konnte. Selbst *leiseste Passagen* wurden im ganzen Saal/Oper gut verstanden; auch in großen Opernhäusern. Das will schon was heißen. Wer heute ist besser als diese beiden?

[@maestroclassico5801]

Flagstad the greatest Wagnerian soprano.

[@hostlangr]

Bitte ausbessern: Flagstad, nicht "Flagstaff".

[@maestroclassico5801]

@@hostlangr Danke

[@renansilva5418]

I just downloaded the 48' and this 52' version, how many remasters does this particular work has, and, have this one a better sounds because i honnestly dosnt see much diference from the others "52' remasters".. Thank you guys for uploading. Is Carlos Gomes - Guarany under you guys plans to some day post it here ,?tks again!

[@classicalmusicreference]

Thank you! With which hardware do you listen to music? And on which platform?

[@horiaganescu3948]

Wagner - Tristan (not Trsitan)...

[@classicalmusicreference]

Merci, Working several hours in front of the screen...

[@horiaganescu3948]

@@classicalmusicreference You're welcome! My pleasure!

[@a.f.4248]

Everybody has known that for over 6 decades : what’s the point ? Reinventing hot water every now and then ?