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Home , Blanche Thebom, Edgar Evans (tenor), Edyth Walker, Josef Greindl, Kirsten Flagstad, Lawrance Collingwood

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Mark Obert-Thorn ADD Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been Great Opera Recordings 8.110321-24 nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His Richard 4 CDs philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard with the greatest clarity. WAGNER There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Tristan und Isolde consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings. His transfers preserve the original tone of the old recordings, Flagstad • Suthaus • Thebom • Fischer-Dieskau maximising the details in critical upper mid-range and lower frequencies to achieve a musical integrity that is absent from many other commercially released restorations. Philharmonia Orchestra • Wilhelm Furtwängler Recorded in 1952

The Naxos historical label aims to make available the greatest recordings in the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings.

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CD 3 CD 4

1 Emotions intensify, Brangäne is again heard briefly, 1 Tristan praises Kurwenal’s loyalty and thinks he sees as the duet continues, rising unrestrainedly towards an Isolde’s ship approaching, but the shepherd’s sad air is Great Opera Recordings ecstatic climax, as they glory in the night. 2 A horrified heard again. 2 There is no ship to be seen. Tristan scream is heard from the maid as the King, Kurwenal, recalls its theme from his sorrowful childhood when he Richard Melot and their friends rush in to surprise the lovers. 3 was orphaned, and in his wild confusion he begins to The King questions Tristan, reproaching him for this blame himself for the fateful love potion that is causing WAGNER betrayal of trust. 4 Tristan replies obliquely that he no such misery. 3 He faints and Kurwenal finds that his (1813-1883) longer feels himself to be a creature of this world and master is still breathing. 4 Weaving in and out of invites Isolde to join him in the sunless land of his birth. consciousness, Tristan again supposes he can see the She agrees, Tristan kisses her, but Melot, incensed by ship approaching and at last a lively tune is heard from Tristan und Isolde the frustration of his own love for her, attacks Tristan the shepherd. Kurwenal watches as, in the distance, who falls wounded into the arms of Kurwenal. Isolde steps ashore and he hastens to meet her. 5 In Tristan ...... Ludwig Suthaus (tenor) agitated anticipation of her arrival at the castle, Tristan Isolde ...... Kirsten Flagstad (soprano) Act III rips the bandages from his wound and struggles to greet Brangäne ...... Blanche Thebom (mezzo-soprano) Tristan’s castle at Kareol in Brittany. her as she hurries to him. With her name on his lips, he dies in her arms. 6 Unable, to revive him, Isolde falls Kurwenal ...... Dietrich Fischer-Dieskau (baritone) 5 An elegiac prelude introduces the act, and a view of insensible to the ground. 7 The shepherd tells King Marke ...... Josef Greindl (bass) Tristan who is lying unconscious under a lime tree in Kurwenal that he can see a second ship approaching and A Sailor / A Shepherd ...... Rudolf Schock (tenor) the courtyard of his castle, tended by Kurwenal. A the helmsman confirms that King Marke and others are Melot ...... Edgar Evans (tenor) shepherd is heard playing a sad tune on his pipe. 6 He aboard. Brangäne arrives and when Melot appears Helmsman ...... Rhoderick Davies (baritone) soon appears, asking Kurwenal about Tristan; he is Kurwenal kills him. He also attacks the King’s retainers abruptly told to return to his watch and, should he see but, sustaining a fatal wound, dies beside his master, Isolde’s ship approaching the coastline, to play instead a Tristan. The King grieves over the deaths; he has Chorus of the Royal Opera House, Covent Garden cheerful melody. No vessel is yet in sight, so the sad travelled to Kareol in order to surrender Isolde (whom Chorus Master: Douglas Robinson tune continues. Soon Tristan wakes and asks Kurwenal he also believes to be dead) to Tristan, but now they lie where he is 7 and how he came there. On being told lifeless at his feet. As Isolde wakes, Brangäne tells her Philharmonia Orchestra that Isolde has been summoned to join him, he that she has revealed the truth about the love potion to Wilhelm Furtwängler deliriously imagines that she is nearby. the King, who forgives his intended bride. 8 It is to no avail and in her mystical farewell, Isolde, disregarding all else, wishes only to join Tristan in death. Her hope is Recorded 10th-21st and 23rd June, 1952 in Kingsway Hall, London fulfilled as she sinks slowly on to her lover’s body. First issued as HMV ALP 1030 through 1035 Keith Anderson

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Synopsis CD 2 CD 1 67:00 CD 2 68:03

CD 1 1 Refusing his offer of a sword with which to kill him, 1 Prelude 11:00 Act One Isolde calls Brangäne whom she has instructed to Orchestra Act I prepare a draught of poison; as Tristan drinks, Isolde Scene 5 (continued) At sea, on the deck of Tristan’s ship. snatches the cup from him and empties it herself. 2 Act One 1 War Morold dir so wert 11:30 Unknown to either of them, Brangäne has prepared a (Tristan, Isolde, Sailors) 1 An extended prelude introduces a number of love potion instead of a poison: before long it takes Scene 1 significant motifs which will be heard again during the potent effect and Tristan and Isolde declare their 2 Westwärts schweift der Blick 6:27 2 Tristan! … Isolde! 6:59 drama. 2 Isolde is on board Tristan’s ship travelling passionate love while Brangäne watches, appalled at the (A young sailor, Isolde, Brangäne) (Isolde, Tristan, Men’s Voices, Brangäne, from Ireland to Cornwall, where she is to marry King result of her deceit. Kurwenal’s return brings them both Kurwenal, Sailors) Marke, Tristan’s uncle. A sailor sings a plaintive song suddenly back to reality and as they begin to understand Scene 2 about a forsaken lover. Hearing this, Isolde bursts into a what the potion has done, the crowd acclaims King 3 Frisch weht der Wind 10:04 Act Two rebellious tirade against the weakness of her own people Marke and his domain of Cornwall. (A young sailor, Isolde, Brangäne, Kurwenal, who have been overcome by their enemies. Tristan’s Tristan, Sailors) 3 Prelude 2:35 companion Kurwenal is seen standing at the stern of the Act II (Orchestra) ship. 3 After the sailor’s song has been heard again, A summer night in King Marke’s castle in Cornwall. Scene 3 Brangäne calls for Tristan to attend her mistress, which 4 Weh, ach wehe! Dies zu dulden! 2:02 Scene 1 he declines to do. A second request is also rejected, this 3 After a short prelude King Marke’s garden is (Brangäne, Isolde) 4 Hörst du sie noch? 12:37 time by Kurwenal who scornfully relates how Tristan revealed. The King, himself has just left on a hunting (Isolde, Brangäne) murdered Morold, the man to whom Isolde was expedition and the horns are heard in the distance. 4 5 Wie lachend sie mir Lieder singen 7:13 previously betrothed. 4 Isolde is incensed by Isolde listens to the sounds of the night, oblivious to (Isolde, Brangäne) Scene 2 Kurwenal’s response. 5 She tells Brangäne how she Brangäne’s concern that the hunt is still within hearing; 5 Isolde! Geliebte! … Tristan! Geliebter! 10:15 recognised Tristan when he came to her in disguise and the maid warns her mistress that she should beware of 6 Da Friede, Sühn’ und Freundschaft 12:28 (Tristan, Isolde) sought help after the murder. She wanted to kill him Melot, a treacherous friend of Tristan, who has (Brangäne, Isolde, Sailors) then, but, restrained by his mysterious gaze, finally organized the King’s night-time expedition as a ploy to 6 Getäuscht von ihm, der dich getäuscht 9:26 spared his life. 6 Now she wishes she had been more catch the lovers unawares. Isolde dismisses Brangäne’s Scene 4 (Isolde, Tristan) courageous, curses him and determines to avenge warning and orders her to extinguish the lighted torch, 7 Auf! Auf! Ihr Frauen! 8:16 Morold’s death with poison. 7 As the ship reaches which will be the signal for Tristan to join her in the (Kurwenal, Isolde, Brangäne) 7 O sink hernieder, Nacht der Liebe 5:51 land, Kurwenal urges the women to prepare themselves. garden. Brangäne refuses and rues the outcome of her (Tristan, Isolde) Isolde demands to speak to Tristan under the pretext of earlier deception in substituting potion for poison. Scene 5 pardoning his crime. 8 He finally joins her. She tells Isolde, aware of nothing but the power of love, herself 8 Begehrt, Herrin, was ihr wünscht 9:27 8 Einsam wachend in der Nacht 8:40 him that she recognised his murder disguise but that extinguishes the torch, awaits Tristan’s arrival and (Tristan, Isolde) (Brangäne, Isolde, Tristan) now she truly will take revenge. sends Brangäne to keep watch for the return of the hunt. 5 Tristan hastens in and the lovers greet each other, joining in their delight in the night, 6 although Isolde reminds her lover that he has been a creature of the day, distorting their love. 7 She sits, while Tristan kneels by her side as they call together on the night of love. 8 Their ardent expressions of love are interrupted only by Brangäne’s admonition as she keeps vigil in a nearby tower. 8.110321-24 10 3 8.110321-24 110321-24 bk TristanEU 20/07/2004 11:46am Page 4

CD 3 64:20 CD 4 56:00 Principal Tenor for 29 years. His rôles included many of Orchestras. He made his first visit to London in 1924 the main French, German and Italian ones, but he is and to the United States the following year. His Act Two Act Three especially remembered for his gripping portrayal of international reputation grew with further American and Hermann in Tchaikovsky’s The Queen of Spades. European engagements. His appointment as Toscanini’s Scene 2 (continued) Scene 1 (continued) Retiring from Covent Garden in 1975, he spent what he successor in New York in 1936, however, was blocked 1 Doch unsre Liebe 11:26 1 Noch losch das Licht nicht aus 5:43 describes as “ten very happy years” teaching at the for political reasons. Controversially Furtwängler had (Tristan, Isolde, Brangäne) (Tristan, Kurwenal) Royal College in London. His only other commercial chosen to remain in Germany during the Nazi period but recording is the rôle of the Mayor in Britten’s own resigned all his German appointments in 1934. After Scene 3 2 Noch ist kein Schiff zu sehn! 11:14 recording of Albert Herring. being ‘de-Nazified’ in 1946, he resumed his European 2 Rette dich, Tristan! 1:59 (Kurwenal, Tristan) Controversial he may have been but Wilhelm career in 1947 with great success. In addition to his (Kurwenal, Tristan, Melot) Furtwängler (1886-1954) was the foremost German annual appearances at the Salzburg Festival, he also 3 Mein Herre! Tristan! 4:43 conductor of his time. Born in Berlin, he studied conducted the opening concert at the first post-war 3 Tatest du’s wirklich? 13:54 (Kurwenal, Tristan) composition with Rheinberger and Max von Schillings, Bayreuth Festival in 1951. He died of pneumonia in (Marke, Tristan) having written his first work at the age of seven. In 1906 November 1954, aged 68. This recording of Tristan, 4 Wie sie selig, hehr und milde 7:10 he made his conducting début in Munich and later that regarded as his finest achievement in the recording 4 O König, das kann ich dir nicht sagen 9:51 (Tristan, Kurwenal) year became a répétiteur at the Stadttheater, Breslau. studio, very possibly represents his interpretative (Tristan, Isolde, Melot) Following appointments in Zürich (1906-07), Munich creativity at its finest within such limitations. Half a Scene 2 (1908-10), and Strasbourg (1910-11), he became Music century on and this document remains a superb Act Three 5 O diese Sonne! 3:49 Director at Lübeck Opera in 1911. This was followed achievement and a testament of a great performance (Tristan, Isolde) by five years in Mannheim from 1915. His first from all involved. 5 Prelude 7:24 Viennese engagement took place in 1919. After the (Orchestra) 6 Ich bin’s, ich bin’s 6:26 death of Nikisch in 1922 Furtwängler succeeded him at (Isolde) the Berlin Philharmonic and Leipzig Gewandhaus Malcolm Walker Scene 1 6 Kurwenal! He! Sag, Kurwenal! 11:30 Scene 3 (A Shepherd, Kurwenal, Tristan) 7 Kurwenal! Hör! Ein zweites Schiff 9:44 (A Shepherd, Kurwenal, Helmsman, Brangäne, 7 Wo ich erwacht, weilt’ ich nicht 8:06 Melot, Marke) (Tristan, Kurwenal) 8 Mild und leise wie er lächelt 7:10 (Isolde)

Producer’s Note

The present transfer was made primarily from two sets of German LP pressings, with an additional two sets of American pressings used for patching in a couple sections. There are occasional, brief dropouts and distortion due to volume level overload inherent in the original tape masters. Radical methods have not been used to reduce hiss in the interest of preserving high frequencies. Mark Obert-Thorn 8.110321-24 4 9 8.110321-24 110321-24 bk TristanEU 20/07/2004 11:46am Page 8

following month. She remained a member of the 1942 before moving to Berlin. Engaged first at the Richard WAGNER (1813-1883) company until the 1966-67 season, giving 236 city’s Staatsoper, Greindl moved to the Städtische Oper Tristan und Isolde performances of 26 rôles. Thebom sang at in 1949. His first appearance at the Bayreuth Festival Glyndebourne in 1950 and made a much talked-about was in 1943 and he returned regularly during the Tristan und Isolde is a music-drama in three acts to a ideal presentation in Vienna, also in November, but appearance in the first English professional production seasons 1951 to 1970, singing all the principal bass libretto by the composer after Gottfried von then abandoned such plans. It was not until June 1865 of Berlioz’s Les Troyens at Covent Garden in 1957. Her rôles in addition to Hans Sachs, the rôle with which he Strassburg’s Tristan, first performed in the Court that the work reached the stage. other rôles had included Marina (Boris Godunov), made his London début in 1963. He also sang in New Theatre in Munich, Bavaria on 10th June 1865. The present 1952 studio-made recording of Tristan Herodias (Salome), Orlovsky and Amneris. She was York and Milan. Greindl was a fine Mozartian and a Considered by most Wagnerians to be the most radical und Isolde was Wilhelm Furtwängler’s first complete also much admired as a concert performer throughout much-admired Boris Godunov in addition to also of the composer’s works in the originality of its opera recording. It was also EMI’s first large-scale the United States. After retiring in 1967 she became appearing in Schoenberg’s Moses und Aron in the first treatment of chromatic harmony, it also had a profound complete operatic recording to be recorded in London General Manager of the short-lived Atlanta Opera German performances in 1959. After retiring he taught influence beyond the realms of pure music. Tristan und entirely using magnetic tape. Additionally, it was to be Company before teaching at the University of Arkansas. singing in Saarbrücken. He died in 1993. Isolde has been described as a wonderful achievement. the only complete recording of a Wagner opera to be The German baritone Dietrich Fischer-Dieskau The German tenor Rudolf Schock (1915-1986) It is a huge flood of expression, exposing the hidden recorded in the studio by the producer Walter Legge. was born in Berlin in 1925. After war service he studied was born in Duisberg and studied singing in Cologne chambers of the heart. What cannot be denied nearly (He had, incidentally, been in charge of the live with the tenor Georg Walter and made his operatic and Hanover. His stage début was at Brunswick in 1937 140 years after its composition is the extraordinary recording of Die Meistersinger von Nürnberg made début as Posa in Don Carlos in 1948. His career soon but his singing career was interrupted by five years of hypnotic power and intense human emotion it evokes, during the 1951 Bayreuth Festival.) Furthermore, it was blossomed internationally with stage appearances in military service. In 1946 he was engaged by the from that remarkable opening chord of the Prelude to the first complete large-scale operatic recording to be Vienna (1949) and Salzburg (1952). His London début Staatsoper in Berlin and Hamburg, remaining with the the over-powering resolution of the final chord at the undertaken by the Philharmonia Orchestra. It would was in Delius’s Eine Messe des Lebens conducted by latter until 1956. His Salzburg Festival début was in end of the Liebestod. Wagner was most certainly one of also be the first Wagner opera to be engineered by Beecham in 1951, a year which marked his first 1948, followed by two seasons at Covent Garden (1949- the most dominant figures in the second half of Douglas Larter, who had been involved with the recordings in that city. He sang the rôles of Herald 50) where his rôles included Rodolfo (La Bohème), nineteenth-century cultural development. Furthermore, technical aspects of recording for HMV, and later EMI, (Lohengrin), Wolfram, Köthner and Amfortas at the Alfredo (La traviata), Tamino, Pinkerton and The he was recognised as a fine writer, was his own librettist for almost thirty years. Bayreuth Festival during the years 1954-56. His Covent Olympians (Bliss). In 1951 he joined the Vienna State and the first modern interpretative conductor. At the time of recording in June 1952 Kirsten Garden début took place in 1967 as Mandryka in Opera and the following year sang at the Edinburgh Following the departure of his wife Minna for Flagstad was without doubt the foremost Wagnerian Arabella. His much awaited but delayed portrayal of Festival. His Bayreuth début was as Walther von Germany in the summer of 1854, Wagner, who was soprano of the day. She was then aged 57, and had sung Hans Sachs took place in Berlin when he was fifty. His Stolzing in 1959, a rôle he had earlier recorded with living in Zürich at the time, became increasingly her final Isolde on stage a year earlier in London. She operatic repertoire embraced all the principal Italian Rudolf Kempe. His later career was most successful in attracted to the 26-year-old Mathilde Wesendonck. This was, understandably, somewhat reluctant to undertake rôles in addition to the main German ones. It is, operetta, television and film. He recorded prolifically growing attraction made the composer conceive the such a demanding rôle under the spotlight of the however, in Lieder and song that he is probably best over a period of almost thirty years, including idea of a music drama, based on the tale of Tristan and microphone. Flagstad was nervous about the reliability remembered. His work in these fields resulted in his Lohengrin, Erik in Der fliegende Holländer, and Max in Iseult. It was not until August 1857 that Wagner began of her top notes at her age, especially when she might becoming the most recorded classical singer of all time. Der Freischütz, in addition to operettas by Johann work on the poem of Tristan and Isolde, based on the have to repeat certain passages time and again. It was In later years he took up a conducting career, in addition Strauss and Lehár, Lieder and popular song. He was Arthurian legend. Music for the first act was completed then suggested to her that she might like to have some to writing on Schubert, Schumann and the area of Lied generally considered the successor to Richard Tauber. in short score by the last day of 1857, with the ‘cover’ for her top Cs in Act Two. Elisabeth in general. The Welsh tenor Edgar Evans was born in orchestration being finally finished the following April. Schwarzkopf was happy to assist and Flagstad The German bass Josef Greindl was born in Cardiganshire in 1912 and studied singing in London Composition was resumed in Venice in October 1858 eventually agreed. Thus in the Love Duet there were Munich in 1912 and studied singing with the bass Paul and Milan. He was a member of the chorus of Sadler’s and the whole second act finished by March 1859. three singers in the studio: Suthaus and Flagstad with Bender and the soprano Anna Bahr-Mildenberg. His Wells Opera from 1937 until 1940, the year he joined Wagner then moved to Lausanne to complete the third Schwarzkopf to sing the notes in question. They were début took place with a semi-professional performance the Police War Reserve in London, followed by a spell act by August of that same year. The première of the quite definitely not edited in at some later stage. (The of Weber’s Der Freischütz in 1935, followed by a with ENSA. In 1946 he became a founder member of music drama was scheduled for Karlsruhe in November Melot in this recording, Edgar Evans, was present at the professional one the following year in Krefeld as the new permanent company at the Royal Opera House 1861 but Wagner withdrew from the proposed time and quite clearly remembers the event fifty years Hunding. He sang in Düsseldorf between 1938 and Company at Covent Garden with whom he was a production. The composer then had great hopes of an on as if it were yesterday.) Also members of the 8.110321-24 8 5 8.110321-24 110321-24 bk TristanEU 20/07/2004 11:46am Page 6

orchestra have also testified to this fact over the years. paragraphs. Although editing was still at a fairly early course of the afternoon, however, matters became collaboration, her post-war return to the United States Nevertheless, when some unwitting member of EMI stage, it was now possible to edit out serious errors and highly strained, when the conductor became did not take place until 1949, when she sang in San inadvertently leaked this news to a Daily Mail reporter, to splice in corrected versions. Nevertheless, both increasingly unhappy with the whole proceedings and Francisco. She returned triumphantly to Covent Garden, Flagstad was greatly distressed by the disclosure, so producer and engineer were still very wary of such walked out in a tantrum. I was asked to return the however, between 1948 and 1951 to present her much so that she refused to renew her contract beyond attempts at editing and such things were kept to a following morning when, happily, all went well”. The Wagnerian interpretations. Although she sang in opera the end of 1953. minimum. Quite unlike what it would become half a chorus of the Royal Opera House, Covent Garden, was in New York (1950-52) and Salzburg (1950), her final Another major obstacle surrounding the recording century later. a fairly new body with many excellent voices in it, and stage appearance was as Purcell’s Dido in London in concerned who was to produce or supervise the project. The final choice of the other singers would also the Philharmonia Orchestra was under contract to EMI 1953. Retiring in 1954 she became the Director of the Flagstad was adamant that she wanted Walter Legge, prove in part troublesome. The original choice for for a large number of sessions annually. (It also Royal Norwegian Opera between 1958 and 1960. who had produced all her post-war recordings in Brangäne was Martha Mödl. Originally a mezzo, she happened to be ‘owned’ by Legge.) Before recording for Decca between 1956 and 1958, Britain. Furtwängler, however, had had a bitter on- had now moved into the soprano repertoire and had The release of the recording in early 1953 was Flagstad had made a number of earlier discs for HMV going grievance against Legge over the latter’s been booked to sing Isolde at the 1952 Bayreuth greeted with unstinting praise from the critics and from and Odeon. It was, however, the recordings for EMI and secretive choice of Karajan as conductor of two Mozart Festival under Karajan. (Legge, incidentally, wanted to Wagnerians, who were thrilled to have a complete RCA, covering the years 1935 to 1953, that established operas in Vienna in 1950 (Le nozze di Figaro and Die record those performances as well.) Eventually she recording of the opera. The heroes of the recording her internationally. If not the most dramatic of stage Zauberflöte), after Furtwängler had conducted both declined the mezzo rôle, so the choice now moved to proved to be, first and foremost, Flagstad and performers her place in the gallery of great Wagnerians operas at the Salzburg Festival that year. Then in April Margarete Klose. Unfortunately she had other Furtwängler, but Suthaus was felt to have surpassed is exemplified by her sheer vocal beauty and quality of 1952 Legge made some unfortunate comments about commitments from which she could not obtain release. himself, while the young Fischer-Dieskau (still only in tone. the older musician that reached Furtwängler’s ears. The Finally, Blanche Thebom (American-born of Swedish his late twenties) as Kurwenal set the seal on his The German tenor Ludwig Suthaus (1906-1971) conductor wrote to Brenchley Mittell, the General parents) was selected at the suggestion of Flagstad. growing international career. Opinions of Thebom and was born in Cologne, later studying at the city’s Manager of EMI’s International Artistes Department, Three tenors were short-listed for Tristan, Bernd Greindl were more guarded but Schock and Evans were Musikhochschule before making his début as Walther demanding that in future Legge was not to supervise Aldenhoff, Günther Treptow and Ludwig Suthaus, but praised for their contributions. The Philharmonia von Stolzing in 1928 in Aachen, where he would remain any further sessions with him. The upshot of all this as Furtwängler knew the last of these from having covered themselves in glory, proving that they were until 1931. He sang regularly in Stuttgart between 1932 unpleasantness was that Lawrance Collingwood worked with him on a number of occasions, he was the indeed a world-class orchestra. Legge’s contribution and 1941, when he moved to Berlin where he was based (HMV’s senior producer) was despatched to see final choice. Fischer-Dieskau and Schock, both then should not be overlooked but Douglas Larter’s until 1965. His international career blossomed in Furtwängler immediately in an attempt to placate the contracted to EMI, were pencilled in from the start. The engineering contribution was never sufficiently postwar Europe with appearances in Wagnerian rôles in conductor. (Collingwood would produce all of rôle of King Mark was a toss up between the German recognised at the time. Overall, it is small wonder, Vienna (1948), Paris (1949), Buenos Aires (1949), Furtwängler’s recordings after Tristan until the latter’s Ludwig Weber (who the previous year had recorded therefore, that this recording remains a landmark in London and San Francisco (both 1953) and Milan death in November 1954.) Eventually an apology was Mark’s Monologue for Legge) or the Bulgarian Boris recording history. (1954). His other rôles included Samson, Rienzi, forthcoming from Legge and, for the moment, the dust Christoff (whose German was little better than his Bacchus (Ariadne auf Naxos), Sadko, Otello, Florestan settled, and Legge was assigned to Tristan. The French). In the end. however, it was the German Josef The Norwegian soprano Kirsten Flagstad (1895- and Hermann (The Queen of Spades). Although his recording progressed successfully and finished before Greindl who was selected. The choice of Edgar Evans 1962) made her début at the age of eighteen while still a voice was somewhat baritonal in quality, Suthaus was time, so much so that the conductor remarked to the as Melot was a late decision. As he told me, when I was student in Oslo. For the following decades she sang admired in the Wagnerian Heldentenor repertoire. In producer at the final playback: “My name will be writing this note: “I was at Covent Garden rehearsing exclusively in Scandinavia. It was only in 1934 that she 1954 he sang Siegmund in Furtwängler’s recording of remembered for this, but yours should be also”. Alfredo in La traviata, when I received a phone call was engaged for the Bayreuth Festival, but it was with Die Walküre. The advantages of magnetic tape over the previous asking me to go over to the Kingsway Hall where her sensational unscheduled first American appearance The mezzo-soprano Blanche Thebom was born in wax system were soon appreciated by Furtwängler, Walter Legge wanted to audition me for Melot. I knew as Brünnhilde at the Metropolitan Opera in New York New York of Swedish parents in 1918. Studying with who, until then, had had to be constrained by having to the part, having sung it opposite Flagstad at Covent that her international career took off. She appeared most both Margarete Matzenauer and Edyth Walker, it was as stop and restart every four and half minutes. The new Garden since 1948. I had a piano rehearsal in front of successfully in London in 1936-37 as Isolde and Senta, a concert singer that she made her début in 1941. Her technology allowed for far longer stretches of music to Legge and Furtwängler, and was offered the part on the as well as Brünnhilde. In 1941 she returned to occupied first appearance with the Metropolitan Opera on tour be recorded at a time. This greatly assisted the spot. I was asked to remain for the rest of the day as I Norway to rejoin her husband who was a Nazi was as Brangäne in Tristan in November 1944, with her conductor’s famed ability to think and work in long would be needed for the afternoon session. During the sympathizer. Although she was freed from any taint of New York house début as Fricka in Die Walküre the 8.110321-24 6 7 8.110321-24 110321-24 bk TristanEU 20/07/2004 11:46am Page 6

Producer’s Note

Synopsis CD 2 CD 1 67:00 CD 2 68:03

CD 3 CD 4

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8.110321-24 Richard ADD AXOS Historical 4 CDs WAGNER Playing h DISC PROHIBITED. BROADCASTING AND COPYING OF THIS COMPACT TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE, RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND ALL (1813-1883) & Time © 4:15:23 2004 Naxos Rights International Ltd. 8.110321-24 Tristan und Isolde Tristan ...... Ludwig Suthaus This landmark recording of Tristan und Isolde is now regarded as Isolde ...... Kirsten Flagstad Furtwängler’s finest operatic Brangäne ...... Blanche Thebom achievement in the recording studio, Kurwenal ...... Dietrich Fischer-Dieskau the benefits of magnetic tape greatly assisting the conductor’s famed W King Marke ...... Josef Greindl

ability to think and work in long AGNER: Tristan und Isolde ASailor / A Shepherd ...... Rudolf Schock paragraphs. There are also Melot ...... Edgar Evans revelatory performances from the young Fischer-Dieskau (still only in Helmsman ...... Rhoderick Davies his late twenties), Suthaus and from Chorus of the Royal Opera House, Covent Garden Flagstad, the foremost Wagnerian Chorus Master: Douglas Robinson soprano of the day. ‘Absolute perfection in human beings cannot Philharmonia Orchestra • Wilhelm Furtwängler be demanded. But Furtwängler, Recorded 10th-21st and 23rd June, 1952 the Philharmonia Orchestra, and in Kingsway Hall, London Flagstad come as near to that as we have any right to expect’ First issued as HMV ALP 1030 through 1035 (Gramophone, 1965). CD 1 67:00 CD 3 64:20

AGNER: Tristan und Isolde Tristan AGNER: 1 Prelude 11:00 1-4 Act II (continued) 37:20

W 2-8 Act I 56:00 5-7 Act III 27:00

CD 2 68:03 CD 4 56:00 1-2 Act I (continued) 18:29 1-8 Act III (continued) 56:00 MADE IN 3-8 Act II 49:34 THE EU

Producer and Audio Restoration Engineer: Mark Obert-Thorn 8.110321-24

www.naxos.com A complete track list can be found in the booklet Cover Image: Scenery for Act II of Tristan and Isolde by Mario Sironi AXOS Historical

N (Private collection)