fonso. Vienna State Chorus; Vienna Philharmonic Orchestra,Riccardo Muti cond. ANGEL 0 DSCX-3940 three discs $39.98, 0 4X3X-3940 $30.98.

IKEso many of 's major undertakings, his new Philips recording of Wagner's is characterized by a singular in- tensity that largely defines its own stan- dards. It is something one accepts or does not accept on its own terms; com- parisons with other recorded versions of the opera, if not entirely irrelevant, are far less worth making than they might otherwise be. The late Karl Bohm is quoted by Erik Smith, the producer of the Bernstein recording, as having remarked after at- tending Bernstein's rehearsal of Act I, "For the first time somebody dares to perform the music as Wagner wrote it. Hildegard Behrens as Isolde and Peter Hofmann as Tristan The rest of us never dared to!" Bohm had reference in particular to the Pre-and enormously appealing Tristan, giv-tended English horn solos in Act III, lude, which Bernstein takes very delib- ing Bernstein the long, soft phrases on aand Chandler Goetting, who plays the erately here, running to a full fourteensingle breath that he demanded in thewooden trumpet, richly deserve their minutes. BOhm himself, in his 1966 Liebesnacht without hinting at strain.solo credits. Bayreuthperformancerecordedby He understands the character, not just The "intensity" I mentioned earlier Deutsche Grammophon, brought it inthe notes, and he projects it marvelous- may be too shallow a term. What at ten and a half minutes, which is ly well. stamps this performance as unique- about the norm. Not only is Bernstein's Hildegard Behrens is not only ideallyand sweeps every vocal and instrumen- pacing of the Prelude deliberate, but itmatched with her Tristan but is surelytal participant along with Bernstein-is seems to appear out of a mystic void. the most thoroughly convincing Isoldethe extraordinary sense of commit- The disc has a long lead-in, and the sur- on records since Birgit Nilsson in thement, which seems to be born of the face is so quiet that you start to thinkBohm set. Her voice is rather lightermost unselfconscious immersion in the the playback amplifier may not bethan we have come to expect from ourWagnerian mythos and, by no means turned on. When the music does begin, Wagnerian heroines, but there is noincidentally, the highest respect for the the opening bars are so hushed as to bewant of power, and she gives us an composer's written instructions. The re- almost inaudible. The effect of this un- Isolde who is indeed a spirited youngcording itself is superb. Bohm's Tris- hurried pacing, with all the pauses giv-Irish princess with youthful vitality and tan, vital and flowing, is the one I have en full weight and the climaxes heldsusceptibilities. Her characterization,preferred since its release sixteen years back until they must be released, is to like Hofmann's, is as much a joy as theago in the face of the versions that have engulf thelistener deep within thesheer beauty of her singing. Both theappeared since then. The new Bernstein Wagnerian dream -world. The entireLiebesnacht and the final scenes are in-does not diminish it-indeed, the very work unfolds in a way that not only sus-credibly beautiful here, the climaxescontrasts between these two splendid tains but intensifies that feeling. The built so subtly yet so inevitably that the sets point up how well such a work sus- recordingbecomes something moreapparent spontaneity makes for a fartains a variety of approaches-but the than an imitation of or substitute forgreater impact than any conventionalvoluptuousness of the orchestral play- staged opera: it is genuine "symphonicdisplay of power could provoke. Theing, the world -in -itself evocativeness in drama." Liebestod, ecstatic but without a trace the"symphonic"balancebetween Bernstein has tended more and moreof hysteria, is the awesome "transfigu-voices and orchestra, and the overall to favor live recordings, but this Tristanration" Wagner called it. (The album'sdramatic vividness make the Bernstein is not the product of a staged produc-eye-catching cover art, by the way, isrecording one that, once heard, be- tion. It was organized as a concert pres-by another Behrens, the painter Petercomes simply indispensable. entation by the Bavarian Radio specifi- Behrens [1868-19491.) -Richard Freed cally in order to make the recording. Yvonne Minton is an eloquent and Each of the three acts was broadcast touching Brangane-warm, compas- WAGNER: Tristan und !snide.Hildegard and recorded separately at intervals ofsionate, and vocally steady.Indeed, Behrens (soprano), Isolde; Peter Hofmann months. Peter Hofmann, who madeevery role in this production is splendid- (), Tristan; Yvonne Minton (mezzo- such a strong impression as ly sung and acted. Hans Sotin projects soprano), Brangane; Hans Sotin(bass), both in the Karajan recording for DGgenuine nobility as King Marke; Bernd King Marke; (baritone), Kur- and in the produc- Weikl, the Melot in Karajan's record- wenal; Heribert Steinbach (tenor), Melot; tion under , had never ing on Angel, is a stalwart, convincing Heinz Zednik (tenor), Shepherd; Raimund sung Tristan before, but he surely hadKurwenal here, easily a match for any Grumbach(bass),Steersman;Thomas definite ideas about a young hero who isother singer of the role since the Fisch- Moser (tenor), Sailor; Bavarian Radio Cho- made of flesh and blood for all his deep rus and Symphony Orchestra, Leonard er-Dieskau of the thirty -year -old Furt- Bernstein cond. PHILIPS 0 6769 091 five feelings. Hofmann sings with great in-wangler version. The chorus and or- discs $64.90, 0 7654 091 three cassettes telligence as well as impeccable musi-chestra are both superb, and both Ma- $64.90; 0 411-036-2 one disc, excerpts, no cianship, evoking a thoroughly crediblerie-Lise SchOpbach, who plays the ex - list price.

66 STEREO REVIEW