Tristan  (Furtwangler;  Suthaus, Flagstad, Greindl, Thebom)  (4-EMI 47322)
Item# OP0038
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Tristan  (Furtwangler;  Suthaus, Flagstad, Greindl, Thebom)  (4-EMI 47322)
OP0038. TRISTAN UND ISOLDE, recorded 1952, w.Furtwängler Cond. Royal Opera House Ensemble; Kirsten Flagstad, Ludwig Suthaus, Blanche Thebom, Josef Greindl, Dietrich Fischer-Dieskau, Rudolf Schock, etc. (Germany) 4-EMI 47322, w.97pp Libretto-Brochure. Final Copy! - 077774732284

CRITIC REVIEWS:

“Pride of place in this column belongs to the greatest Wagnerian soprano of the 20th century (and probably the 19th as well), Kirsten Flagstad (1895-1962). Flagstad made her début at the age of 18 in her native Norway, but her voice developed slowly and she sang mostly light roles in operettas and musical comedies and only in Scandinavia until 1932. By then her voice had greatly deepened and her artistry matured, and her late entry onto the world's stages was spectacular. By the late 1930s, when I first heard her live at the Met, she was internationally famous, but her reputation suffered during WWII, when she was made suspect by her husband's association with the Norwegian Nazis, and it took some time before she was welcomed back to recital stages in the U.S. and elsewhere.

She was a shy, self-contained woman who looked and behaved like a simple hausfrau; she refused to be a prima donna and always insisted her greatest desire was to retire to Norway and spend her life with her husband and children. Watching her knitting placidly or playing solitaire in the wings before she went on stage, observers often wondered whether she really understood what she was doing out there as Brünnhilde or Isolde. The answer was in her performances and is on these discs, in which astounding vocal beauty is combined with great passion and musical insight in deeply felt and deeply moving performances. Hearing her powerful, pure, golden tones ring out effortlessly above the loudest orchestral sound is one of the most electrifying vocal experiences you will encounter. If her characterizations often seemed more stately and restrained than vivid, she made up for it by her musical intelligence, her impeccable intonation and diction, her perfect breath control (which enabled her to produce flawless legato lines), and the radiance, brilliance, ease, and intoxicating beauty of her singing.”

- Alexander J. Morin, Classical.Net



“Ludwig Suthaus was one of the most important heldentenors in the 1930-51s era. His baritone-based voice was one of great power coupled with sensitivity to text and music. He was able to scale his operatic voice down to the simplicity of a lieder recital. He could produce a warmth of color with ease. Brilliant high notes were also part of his vocal arsenal.”

- Charles H. Parsons, AMERICAN RECORD GUIDE, Sept./Oct., 2007



“Josef Greindl was considered as one of the greatest Wagner singers of his time. He had a powerfully expressive bass voice, whose clarity of declamation exhibited his stylistic projecting ability. Josef Greindl was equally convincing in dramatic and Buffo rôles. He also excelled in concert singing.”

- Aryeh Oron



"In a field long dominated by Europeans, Ms. Thebom was part of the first midcentury wave of American opera singers to attain international careers. Associated with the Met from the mid-1940s to the mid-1960s, she was praised by critics for her warm voice, attentive phrasing and sensitive acting."

- Margalit Fox, THE NEW YORK TIMES, 28 March, 2010