Tannhäuser / Domingo, Studer, Baltsa, Salminen, A. Schmidt; Sinopoli

Editorial Reviews
Amazon.com
Another Paris Tannhäuser recording, this one seeing the adaptable Placido Domingo take a break from the world of Italianate opera to try on the mantle of Heldentenor. Domingo's clear, manly voice is well suited to the transformation--precisely why Italians usually don't think of him as a bella voce. Agnes Baltsa approaches the role of Venus in a less shrill and more human manner than often is heard in portrayals of the excitable goddess. The sound is exceptionally clear in the recording, a comparatively newer digital mastering from the late 1980s. The chorus work is good, though not quite on the sublime plane reached in the Georg Solti recording. Maestro Giuseppe Sinopoli conducts the Philharmonia Orchestra and the Chorus of the Royal Opera House, Covent Garden in a measured, stately manner. --Christian C. Rix

Tracks:

Tannhauser: Overture
Tannhauser: 'Naht euch dem Strande' (Act One, Scene One : The Venusberg)
Tannhauser: 'Gelieber, sag? Wo weilt dein Sinn?' (Act One, Scene 2)
Tannhauser: 'Dir tLob! Die Wunder sei'n gepriesen'
Tannhauser: 'Dank deiner Huld, gepriesen sei dein Lieben!'
Tannhauser: 'Geliebter, komm! Sieh dort die Grotte'
Tannhauser: 'Stets soll nur dir, nur dir mein Lied ert'
Tannhauser: 'Zieh hin, Wahnbetr, zieh hin!'
Tannhauser: 'Frau Holda kam aus dem Berg hervor' (Act One, Scene 3)
Tannhauser: 'Zu dir wll ich, mein Jesus Christ'
Tannhauser: 'Wer ist der dort in brunstigem Gebete?' (Act One, Scene 4)
Tannhauser: 'Als du in kuhnem Sange uns bestrittest'

Tracks:

Tannhauser: 'Dich, teure halle, gruss ich wieder' (Act Two, Introduction and Scene 1)
Tannhauser: 'Dort ist sie; nahe dich ihr ungest (Act Two, Scene 2)
Tannhauser: 'Gepriesen sei die Stunde'
Tannhauser: 'Dich treff ich hier in dieser Halle' (Act Two, Scene 3)
Tannhauser: 'Freudig begrussen wir die edle Halle' (Act Two, Entry Of The Guests)
Tannhauser: 'Gar viel und schard hier in dieser Halle'
Tannhauser: 'Blick ich umher in diesem edlen Kreise' (Act Two, The Song Contest)
Tannhauser: 'O Wolfram, der du also sangest'
Tannhauser: 'Heraus zum Kampfe mit uns allen!'
Tannhauser: 'O Himmel! Lass dich jetz erflehen'
Tannhauser: 'Ha! Der Verruchte! Fliehet ihn!'
Tannhauser: 'Zuruck von ihm! Nicht ihr seid seine Richter!'
Tannhauser: 'Zum Heil den Sundigen zu fuhren'
Tannhauser: 'Ein furchtbares Verbrechen ward begangen'
Tannhauser: 'Mit ihnen sollst du wallen'

Tracks:

Tannhauser: (Act Three, Introduction : Tannhauser`s Pilgrimage)
Tannhauser: 'Wohl wusst ich heir sie im Gebet zu finden' (Act Three, Scene 1)
Tannhauser: 'Begluckt darf nun dich, o Heimat, ich schauen'
Tannhauser: 'Allmacht`ge Jungfrau! Hor mein Flehen!'
Tannhauser: 'Wie Todesahnung Dammrung deckt die Lande' (Act Three, Scene 2)
Tannhauser: 'O du mein holder Abendstern'
Tannhauser: 'Ich horte Harfenschlag, wie klang er traurig!' (Act Three, Scene 3)
Tannhauser: 'Inbrunst im Herzen, wie kein Busser noch'
Tannhauser: 'Dahin zog`s mich, wo ich der Wonn und Lust'
Tannhauser: 'Wilkommen, ungetreuer Mann!'
Tannhauser: 'Heil! Heil! Der Gnade Wunder Heil!'

Amazon.com

Another Paris Tannhäuser recording, this one seeing the adaptable Placido Domingo take a break from the world of Italianate opera to try on the mantle of Heldentenor. Domingo's clear, manly voice is well suited to the transformation--precisely why Italians usually don't think of him as a bella voce. Agnes Baltsa approaches the role of Venus in a less shrill and more human manner than often is heard in portrayals of the excitable goddess. The sound is exceptionally clear in the recording, a comparatively newer digital mastering from the late 1980s. The chorus work is good, though not quite on the sublime plane reached in the Georg Solti recording. Maestro Giuseppe Sinopoli conducts the Philharmonia Orchestra and the Chorus of the Royal Opera House, Covent Garden in a measured, stately manner. --Christian C. Rix

Customer Reviews:

Best Tannhauser out there.......2007-01-11

This is probably the best recording of Tannhauser that is out there, of which there are a fair number. First the positives. Domingo's voice is excellent for the title role with very smooth and with clear annuciation (impressive, considering it is not one of his main languages). He also inparts his professional sense of passion to all of his music, Italian or German. He also does not "overdo" his singing of the role as some do (specifically Kollo's in Solti's recording). Sinopoli's direction of the Philharmonia Orchestra is very good. I actually enjoy the Overture at a slower pace, such that it is not rushed as in some recordings (i.e. Levine with the MET on DVD). He also makes sure that the orchestra does not overwhelm the singers at any point. The Philharmonia is always technically excellent as well. Andreas Schmidt is also wonderful as Wolfram. Now for the negatives. Neither of the female leads (Studer or Baltsa) are as impressive as the male characters. The other complaint that I would have is that the Chorus of the Royal Opera House as they are technically okay, but don't seem to have much passion for the music. I can't recall a Pilgrim's chorus that was tame as this one. However, all in all, this recording is probably the best that is out there because of the orchestra and male leads.

Wagner's Dualism.......2006-10-08

In Willa Cather's fine story "A Wagner Matinee," a 19th century woman isolated on a farm in Nebraska is starved for great music. She has been acquainted with Mozart from earlier in life. She gets a chance to travel to Boston where she hears a concert featuring the Tannhauser Overture. The result is the thrill of a lifetime. We can imagine how Wagner's grand overture would impact such a person. The sophisticated grandeur and power of Wagner's music would sound like an apocalyptic event.

For me the one drawback of this opera is its thematic dualism between religion and sex. The dualism derives, in my opinion, from a deepseated association between German Christianity and monasticism despite Luther's acceptance of a married clergy. German culture interprets Christianity as a devotional discipline which translates into the slow tempo of the opera's Pilgrim Chorus. This sound is thrown into opposition to the giddy, ecstatic sound of the Venusberg music. Although the distinction between solemn and high-spirited music is natural enough, it is illogical to confine spirituality to slow tempi and low dynamic. The natural correlative of spirit is wind, hardly an object lesson in dour, rocklike stoicism. On the Day of Pentecost, the filling of the Holy Spirit was mistaken for drunkenness. Wagner's dualism limits his music and even gives off a stylistic "false note" as though something is not quite right in a purely aesthetic sense. The dualism is handled much better in Parsifal where the "Venusberg" alternative is replaced by futility and evil, dramatic in presentation but clearly inferior to the spirituality of Amfortas and Parsifal's Grail cult. Tannhauser is a very brilliant but immature, unresolved work based on a confused sense of priorities as though one has to choose between religious devotion and spontaneous enthusiasm. The best comment on Wagner's later resolution of religion and excitement is the exalted synthesis of Anton Bruckner's symphonies.

A Dreamy, Beautiful, Golden Tannhauser .......2006-02-08

This 80's studio recording of Wagner's Tannhauser is not largely considered "Wagnerian" because all the talents behind it are not German, but it is a beautifully rendered opera and very moving. It stars Placido Domingo as Tannhauser, Cheryl Studer as Elisabeth, Agnes Baltsa as Venus, Matti Salminen as Hermann, Andreas Schmidt as Wolfram Von Eschenbach and Barbara Bonney as a Young "hirt". Italian conductor Giuseppe Sinopoli conducts. Other than the principal singers, the rest are German singers. Sinopoli conducts with great texture and subtleties. Dramatic climaxes are all in their respective place and most importantly of all, the music never drowns out the singers but, like bel canto, accompanies them well. Placido Domingo sings with passion, elegance and wonderful dramatic abilities. He has portrayed Tannhauser on stage and he fits the character well. The poet-musician who has lived with Venus, renouncing his Christian faith and love- Elisabeth- only to realize the folly of his ways is a wonderful vehicle for Domingo. Domingo is a versatile singer and one whose voice is glorious, simply beautiful and energetic. Sure, let the critics have their field days about how he can't sing Wagner. I say he can and best of all he is not "bitten" by the Bayreuth bark and is a welcome change from all the Wolfang Windgassens, Jon Vickers, Rene Kollos and James Kings on studio recordings. Mezzo soprano Agnes Baltsa as Venus is sensual, mellow and calculating. She sings with great beauty and never sounds edgy or erratic. She is wonderful and proves her own versatility as she has sung a number of roles from Dona Elvira in Mozart's Don Giovanni, La Cenerentola from Rossini's opera to Verdi's wicked heroine Eboli in Don Carlo and Queen Elisabeth in Donizetti's Maria Stuarda among many other roles. Matti Salminen's voice is noble and grand and Wagner goes well on him. It is a gorgeous voice, with a healing quality to it. I've seen Matti on stage and he has a regal presence. The only weak link in this cast is, unfortunately, Cheryl Studer as Elisabeth. There is no sense of true Wagnerian musicality here. Even Domingo has that. Studer sings the role with no real emotion or warmth, and sounds as if she were singing Marguerite in Faust or Donizetti's Lucia. She has a beautiful voice but it's not suited to Wagner. It's an experiment from her part to sing the role of Elisabeth. Also, she takes the "sweet and dull girlfriend" approach to the part. I like to think that Elisabeth had some spine. Yes, she represents the Christian woman, but she should be seen as a fighter, she is fighting to save Tannhauser's soul. She is a warrior of God, an angel with the weapon of love. But very few sopranos sing her as a fighter. Normally, Elisabeth is mellow, sweet and lackluster next to the more fiery and passionate Venus. But Elisabeth ought to have some passion too. I have enjoyed Studer in other roles but she does not impress as Elisabeth. But not even this is a drawback. This is a fine recording with great moments of beauty and drama.

Just excellent.......2005-02-20

I bought this over 10 years ago; have it in the car CD player almost permanently so I hear it at least 6 times a year. Haven't got near sick of it yet. Domingo is great; Studer blows you away in act II and Baltsa is a great Venus. Both the great duets; the Tannhauser Venus in A I and the T-Elizabeth in Act II are sensational; Bonney (the sheperd in A1) is angelic; wonderful juxtaposition with the pilgrims choir. The end of A1 almost has you in tears. Sinopoli (God Bless Him) holds the whole thing together beautifully.

A Good, but not Great Recording.......2003-09-24

The great tenor Jon Vickers once said that he would never play the role of Tannhauser since the character was so despicable. He believed that his deep religious faith would not allow him to play this role, even though he would only be singing and acting. Wagner's music is so beautiful, it hardly befits such a character, yet when we look at issues such as sin and grace, goodness and evil, how often are we reminded that evil is often disguised as beauty. Perhaps this is one reason why this opera is so intriguing.

Tannhauser is a story of sin and redemption that combines the world of myth and Christianity-a popular theme in the works of Wagner. In this opera, Tannhauser visits the goddess Venus and enjoys her allurements of the flesh. He then returns home where he is greeted by the pure and chaste Elizabeth. Just as Venus embodies all that is corrupt, Elizabeth embodies all that is good. Elizabeth is loved by two men, the good Wolfram and the evil Tannhauser. Wolfram is worthy of a woman such as Elizabeth, and certainly she deserves to be loved by such a good and descent person. However, the one she loves is Tannhauser. At a singing contest in the great hall, Wolfram sings a genuine song and Tannhauser tells of his visit to Venus, which shocks the audience. He is told of his version of love is blasphemy and such a grave sin can only be forgiven by the Pope. Tannhauser will only know if he has been forgiven if the staff of the Pope grows leaves. He then joins a pilgrimage to Rome. Elizabeth stays behind and prays so hard that she dies. Her death coincides with the moment that Tannhauser realizes that he is forgiven.

The Sinopoli recording with Domingo in the starring role was my first Tannhauser recording, and it is this recording that made me fall in love with the opera. Though Domingo is primarily known for his renditions of the Italian repertoire, when he does venture into other areas such as French and German opera, he often does an outstanding job due to his musical gifts. Though I enjoy the Solti recording with Rene Kollo, Domingo is a very convincing Tannhauser. Gueseppi Sinopli does a good job conducting, and Sinopli's handling of the score in on par with many of his other great recordings,
but the remainder of the cast does not have the abilities of the Solti recording. Certainly Domingo fans will want this recording in their collection, and those who are new to Wagner and familiar with Domingo's masterful interpretations will feel safe stepping into this territory with such a familiar and beloved voice.

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