OP1480. TRISTAN UND ISOLDE, Live Performance, 9 March, 1935, w.Bodanzky Cond. Met Opera Ensemble; Kirsten Flagstad, Lauritz Melchior, Karin Branzell, Friedrich Schorr, Ludwig Hofmann, Hans Clemens, etc. (E.U.) 3-West Hill Radio Archives WHRA 6001. Long out-of-print, Final Sealed Copy! - 4015023160019
"When first heard on 6 February (just four days after her début) Flagstad’s Isolde had caused a sensation. We can closely approximate that experience since the broadcast of 9 March [above] is Flagstad’s very next appearance in that role. Melchior’s knight is already familiar to the radio audience, but the 1935 broadcast provides our first opportunity to hear him in a complete Wagnerian role. The sense of discovery may therefore be nearly as great in regard to the Danish tenor as for the new Norwegian soprano; in fact, this proves to be the case."
- Paul Jackson, SATURDAY AFTERNOONS AT THE OLD MET, p.86
“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
“The voice of Kirsten Flagstad was a full dramatic soprano with great warmth. Unlike the voice of Birgit Nilsson, which was like a laser beam, Flagstad's voice enveloped the listener in a cushion of sound. She brought her characters to life primarily through vocal means; the overt theatricality of the later twentieth century was not part of her dramatic arsenal nor was it seen in any of her colleagues. Her many appearances with Lauritz Melchior at the Metropolitan Opera and at other houses in the 1930s made the music dramas of Wagner the core of the repertoire at these houses.”
- Richard LeSueur, allmusic.com
“Lauritz Melchior trained with retired Danish tenor Vilhelm Herold. In 1918, now singing as a tenor, Melchior gave his first performance as Tannhäuser. 1924 saw his first performances at Bayreuth (Siegmund, Parsifal), and at Covent Garden (Siegmund), two of the most important theaters of his career. Another crucial debut came in 1926: the Metropolitan Opera, portraying Tannhäuser. The remainder of the 1920s passed by in a whirlwind of newness.
Although in the 1920s Melchior was planning to make Germany the center of his career, the unforeseen Nazification and Great Depression of the early 1930s in fact moved him away from that country's theaters, including ‘Hitler's Bayreuth’. After 1933, the majority of his opera season was spent at the Metropolitan. It was a Dionysiac time for Wagner performance. His only new operatic role in the 1930s was Florestan.
Melchior left the Met and the opera after a much publicized kafuffle with incoming General Manager Rudolf Bing, giving his last performance (Lohengrin) in February of 1950."
-Zillah D. Akron