Tristan   (Bohm;  Nilsson, Vinay,  Dalis, Hines, Cassel)  (3-Walhall 0307)
Item# OP2160
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Tristan   (Bohm;  Nilsson, Vinay,  Dalis, Hines, Cassel)  (3-Walhall 0307)
OP2160. TRISTAN UND ISOLDE, Live Performance, 9 Jan., 1960, w.Böhm Cond. Met Opera Ensemble; Ramón Vinay, Birgit Nilsson, Irene Dalis, Jerome Hines, Walter Cassel, etc. (E.U.) 3-Walhall 0307. Notable as Nilsson’s very first broadcast from the Old Met Opera House, very shortly after her Met début. - 4035122653076

CRITIC REVIEWS:

“Nilsson made so strong an imprint on a number of rôles that her name came to be identified with a repertory, the ‘Nilsson repertory’, and it was a broad one. She sang the operas of Richard Strauss and made a specialty of Puccini's TURANDOT, but it was Wagner who served her career and whom she served as no other soprano since the days of Kirsten Flagstad.

A big, blunt woman with a wicked sense of humor, Ms. Nilsson brooked no interference from Wagner's powerful and eventful orchestra writing. When she sang Isolde or Brünnhilde, her voice pierced through and climbed above it. Her performances took on more pathos as the years went by, but one remembers her sound more for its muscularity, accuracy and sheer joy of singing under the most trying circumstances.

Her long career at the Bayreuth Festival and her immersion in Wagner in general, began in the mid-1950s. No dramatic soprano truly approached her stature thereafter, and in the rôles of Isolde, Brünnhilde and Sieglinde, she began her stately 30-year procession around the opera houses of the world. Her United States debut was in San Francisco in 1956. Three years later she made her début at the Metropolitan Opera, singing Isolde under Karl Böhm, and some listeners treasure the memory of that performance as much as they do her live recording of the rôle from Bayreuth in 1966, also under Böhm. The exuberant review of her first Met performance appeared on the front page of The New York Times on 19 Dec., 1959, under the headline, ‘Birgit Nilsson as Isolde Flashes Like New Star in 'Met' Heavens’."

- Bernard Holland, THE NEW YORK TIMES, 12 Jan., 2006



"Chilean-born Ramón Vinay began his operatic career as a baritone (Mexico City, 1938), singing many of the major baritone roles…, but after study with tenor René Maison, he began a second career as a tenor (Mexico City, 1943), and after a long, distinguished career as a tenor, returned to the baritone repertoire in the 1960s, retiring in 1969 with a final Iago. He was most noted for tenor roles requiring great heft and power….His services were in demand everywhere."

- Charles H. Parsons, AMERICAN RECORD GUIDE, May/June, 2006



“Brangäne’s music lies primarily in the most attractive portion of Dalis’ voice, the middle and upper range. Her tone in these regions is consistently pleasing, its bronze-tinged timbre not dense but owning a flavorful mix of tonal point and sensuous coloration. The voice is inherently secure, devoid of wobble, and responsive to interpretive nuance, which Dalis applies with intelligence….So extraordinary was [Nilsson’s] success that New York newspapers broke tradition by placing their reviews on the front pages. When rain falls onto a drought-laden landscape, gratitude is boundless. On the strength of her broadcast first act alone, the soprano warranted the press approbation and audience jubilation.”

- Paul Jackson, SIGN-OFF FOR THE OLD MET, p.283



“Irene Dalis, a versatile and fiery mezzo-soprano who starred at the Metropolitan Opera for two decades before building a second career as the director of Opera San José, an innovative company she founded in her California hometown, did not set out to be a singer or an impresario. She studied piano and music education at what was then San Jose State College before earning a master’s degree at Columbia’s Teachers College in Manhattan in the late 1940s. The plan was to go back home and teach. Yet her instructors in New York were struck by her voice and encouraged her to develop it. She began taking lessons with the mezzo-soprano Edyth Walker. Instead of returning to San Jose, she went to Italy to study voice on a Fulbright scholarship in 1951. Just two years later she made her operatic début as Princess Eboli in Verdi’s DON CARLO in Oldenburg, Germany. Four years after that, she performed the same role at the Met. Her début at the Met, on 16 March, 1957, was ‘one of the most exciting of the season’, Howard Taubman wrote in THE NEW YORK TIMES. ‘By the time she reached the second-act trio she showed she could sing with temperament’, Mr. Taubman said. ‘And in the third-act, ‘O don fatale’, one of Verdi’s greatest dramatic arias, she was like a veteran. Her voice, which has range, security and brilliant top notes, was now under full control. She sang and moved with a total absorption in the emotion of the character. ‘Her singing had color and fire. In terms of sheer quality there may be more sumptuous voices at the Met in the mezzo-soprano division; Miss Dalis uses hers like an artist’.

For the next two decades, Ms. Dalis was among the Met’s most admired performers, appearing more than 270 times and singing virtually every major mezzo-soprano part written by Verdi, Wagner, Richard Strauss and others. She was nurtured by Rudolf Bing, the Met’s formidable general manager, and performed with Birgit Nilsson, Jussi Bjorling, Robert Merrill, Leontyne Price, Plácido Domingo and Leonie Rysanek.

She sang on many other stages, including at the San Francisco Opera and at Covent Garden. One of her most acclaimed performances was in 1962, when she sang the role of Kundry in PARSIFAL at the Bayreuth Festival in Germany. She said later that, under stress from a grueling schedule, she had a revelation while she was there. ‘I asked myself if my talent, which I had always thought so sacred, was so special after all’, she recalled in 1964. ‘I decided it wasn’t. I realized that this was just my way of making a living. I began to see that I couldn’t deliver my best all the time, nobody can, and that I shouldn’t punish myself for my mistakes. ‘I have now approached the time of life where I want to enjoy what I’m doing. Does it seem silly? It seems to me a great discovery’.

She would perform for another decade, but in the mid-1970s she finally went home to California to teach voice, finding a position at San Jose State. Her work with students there led to her founding of Opera San José in 1984. It was modeled on a program in Oldenburg, which gave young performers like Ms. Dalis the chance to sing big roles early in their careers. ‘In the old days, singers started singing major roles at a young age, and it didn’t ruin their voices, did it?’ she said in an interview with OPERA NEWS in 2007. The company, which performs at the California Theater, a restored 1927 movie palace, has its own costume and set shops, owns administrative buildings and provides apartments to some performers. Ms. Dalis ran it until this June. OPERA NEWS called Opera San José ‘the only opera company in the U.S. entirely dedicated to developing the careers of emerging young artists’.”

- William Yardley, THE NEW YORK TIMES, 18 Dec., 2014



“Karl Böhm was one of the greatest conductors of the twentieth century in the German tradition. He studied music as a child and continued to work and study in music while serving in the Austrian Army during World War I - and while completing a doctorate in law. He never had conducting lessons, but made close studies of the work of both Bruno Walter and Karl Muck.

In 1921 he was hired by the Bavarian State Opera in Munich, and then he became Generalmusikdirektor in both Darmstadt (1927) and Hamburg (1931-1933). He gained a reputation for his fine performances of Mozart, Wagner and Richard Strauss, as well as his championing of modern German music, including operas by Krenek and Berg. Böhm débuted in Vienna in 1933, leading Wagner's TRISTAN UND ISOLDE. In 1934 he became director of the Dresden State Opera, Richard Strauss's favorite theater. There, Böhm conducted premieres of Strauss's DIE SCHWEIGSAME FRAU (1935) and DAFNE (1938). He remained at the helm in Dresden through 1943, at which point he became director of the Vienna State Opera (1943-1945). Richard Strauss was not in official favor, and Joseph Goebbels banned any recognition of the great composer's 80th birthday in 1944. However, Böhm participated in a de facto observance, as a large number of Strauss' orchestral and operatic works ‘just happened’ to be played about the time of the birthday.

After the war, Böhm was forbidden to perform until he underwent ‘de-Nazification’, a procedure whereby prominent Austro-Germans were investigated for complicity in Nazi crimes. He was eventually cleared of any suspicion, and was permitted to resume work in 1947.

Böhm oversaw the German repertory at the Teatro Colón in Buenos Aires (1950-1953), and again served as director of the Vienna State Opera (1954-1956). He débuted in the USA at the Metropolitan Opera with Mozart's DON GIOVANNI in 1957, and took prominent German orchestras and opera companies on tour. The Vienna Philharmonic bestowed on him the title ‘Ehrendirigent’, and he was proclaimed Generalmusikdirector of Austria. He left a legacy of many great recordings, including a complete Wagner RING cycle considered by many critics to be the best. While his Wagner and Strauss were sumptuously Romantic, his Mozart was scrupulously Classical in approach.”

- Joseph Stevenson, allmusic.com



“I personally prefer live recordings. What they lose in technical perfection they gain in vitality and spontaneity. A studio version cannot escape the danger of substituting a lovely collage for a true interpretation….I know for certain that there are many live recordings that are genuine as well as beautiful.”

- Birgit Nilsson, LA NILSSON, pp.238-39