Wagner Without Fear

by William Berger

  Of course, it’s not yet that kind of world. In the meantime, how much easier to assume that Wagner was a proto-Nazi who happened to write pretty music, that Nazis are fundamentally different from you and me, that all German culture is suspect, and thank God we’re so much better!

  Wagner on CD

  Opera on recording is a vast, confusing world characterized by a strident minority of shrill partisans amidst a great majority who feel at sea with the whole issue. Walking along the opera aisles of your record store’s classical department can be intimidating: rows and rows of expensive little box sets with no information except some cover art and, perhaps, a familiar name or two. These days, the Internet is abuzz with newcomers to the world of Wagner asking for advice on which recordings to buy. This is understandable, considering that a new-release CD set of a Wagner opera can put you out as much as ninety dollars. Who wouldn’t need some guidance? Yet taking advice off the Internet is risky. There are too many weird people with individual axes to grind, determined to win converts to their arcane causes—a favorite diva, usually, or some other personal issue. It is frightening which recordings are recommended in this manner.

  The debate over which are the best recordings opens up the Pandora’s box of singers and their interpretations of roles. This is a very personal matter, and no one can tell you how to react to a certain voice. This doesn’t mean people won’t try, however, so keep this in mind when someone is in raptures about a particular recording.

  There are three general categories of opera recordings: studio, live, and highlights.

  Studio: For most people, studio recordings are the best choice. They are usually made in conjunction with a series of live performances, and the soloists are sufficiently involved in their roles to communicate their characterizations through the technology. Other advantages include clarity of sound and high quality from the soloists, who can, of course, always rerecord a difficult passage if they lay an egg on the first take. (For many “experts,” this represents a compromise of artistic integrity, but for most of us, it just means good singing.) Studio recordings of Wagner operas are extremely expensive to produce and are becoming rarer and rarer.

  One disadvantage to listening to studio recordings is that they tend to spoil people for the unpredictabilities of live performance. The phenomenon of eternal disappointment with the singers at a live performance, as old as opera itself, has only been made worse by studio recordings. There is no way a flesh-and-blood Walther or Siegfried is going to sound as fresh after five hours of howling as your CD analogs sounded. And you may never hear Brünnhilde trill after her war cries the way she did on your recording (where she may well have recorded that single note after a week’s rest). Just remember that recordings and performances are two distinct art forms, or you may end up becoming one of those long-faced people in the lobby of the opera house who look hopelessly disappointed by life.

  Live: Many single performances of Wagner operas have become legendary in the annals of theater history—those rare nights when it all came together and something truly sublime happened—and a surprising number of these are available on recording. These are the recordings all the experts recommend. What they don’t tell you is that live recordings are always a compromise. While Frau Lederlung may have lit the house at that legendary performance in Magdeburg in 1909, you’d have to be almost psychic to know that from the recording made on a wax cylinder underneath the stage. In recent years, of course, recording techniques have improved, and live recordings are the order of the day. (They’re a whole lot cheaper to make, for one thing.)

  The Bayreuth festival has been issuing live recordings for years, and they have always been at the forefront of sound technology. Bayreuth live recordings tend to be better than most for a few reasons. First, no place on earth has the acoustical properties of the Festival House. All the great singers will tell you that it is an ideal place to sing, since the orchestra pit is covered and the singers do not need to “push” as much as in standard opera houses. Also, singers on stage are able to hear their own voices while singing, and can adjust accordingly.

  That’s the theory, at any rate. There are plenty of live Bayreuth recordings where the singers sound just as tired and hoarse toward the end of the evening as if they had been barking all night at the Met. Still, there is no arguing that the warmth of the Bayreuth acoustics tends to complement the singers. The true best reason to buy the Bayreuth recordings is the legendary chorus. There’s nothing like it anywhere.

  Highlights: Any sane person would naturally assume that the many highlights recordings are the logical place to start a collection, but don’t count on it. For one thing, these highlights are the reason everybody thinks of Wagner as bombastic and ham-fisted. Listening to “The Ride of the Valkyries,” “Siegfried’s Funeral,” and the Overture to Tannhäuser all in succession would send anybody over the edge. As for the highlights of a particular opera, it’s much the same. Either you’re going to like what you hear and want to buy the complete opera or you’ll hate it and never listen to it. Either way, you’ve wasted your money. The highlights are best for people who already have a complete recording of the opera in question but want to judge a particular aspect of a recording—a singer, a conductor, or the sound quality. While highlights recordings are generally marketed toward the newcomer, they are, in fact, more appropriate for the expert with gargantuan CD collections.

  The Flying Dutchman (Der fliegende Holländer)

  Antal Dorati, conductor. London, Rysanek, Tozzi, Liebl. Royal Opera House Chorus and Philharmonic (Live, 1960). Decca 417 319-2DM2.

  Sir Georg Solti, conductor. Bailey, Martin, Talvela, Kollo. Chicago Symphony Chorus and Orchestra (1985). Decca 414 551-2DH3.

  Herbert von Karajan, conductor. Van Dam, Vejzovic, Moll, Hofmann. Vienna State Opera Chorus and Vienna Philharmonic Orchestra (1982). EMI MVD99 1311-3.

  James Levine, conductor. Morris, Voigt, Rootering, Heppner. Metropolitan Opera Chorus and Orchestra (1994). Sony S2K66342.

  The George London/Leonie Rysanek performances of Dutchman remain legends in operatic circles, and this recording will give you an idea of the sheer electricity they generated. The production quality is, predictably, primitive, however. Don’t buy this as your only Dutchman unless you’re only interested in vocal characterization. Bailey makes a compelling Dutchman, but Solti’s recording is remarkably dry, without any of the spookiness that is key to this work. Karajan, on the other hand, goes for effects bordering on camp. The quiet passages are mere sea breezes, while the Sailor’s Chorus will probably blow your speakers out. José Van Dam is an excellent Dutchman of the introverted variety, while Djuna Vejzovic is uneven as Senta. Levine and the New Yorkers have answered an urgent need with their Dutchman; intense yet controlled, and brilliantly recorded. James Morris is as weary as the ocean. You actually want to help this guy. Deborah Voigt, today’s most promising Wagner singer, is dead-on with her Senta, although some may quibble with her portrayal of Senta as a real girl with romantic tendencies rather than an out-and-out drooling psycho.

  Tannhäuser

  Wolfgang Sawallisch, conductor. Windgassen, Silja, Waechter, Bumbry. Bayreuth Festival Chorus and Orchestra (Live, 1962). Philips 434 420-2PM32(2).

  Solti, conductor. Kollo, Dernesch, Braun, Ludwig. Vienna State Opera Chorus (with Vienna Boys’ Choir) and Vienna Philharmonic Orchestra (1986). Decca 414 581-2DH3.

  Giuseppe Sinopoli, conductor. Domingo, Studer, Andreas Schmidt, Baltsa. Royal Opera Chorus and Philharmonia Orchestra (1989). Deutsche Grammophon 427 625-2GH3.

  The Sawallisch Tannhäuser (using the Dresden edition of the score) captures all the excitement of the 1962 performances at Bayreuth, where Grace Bumbry made such a splash as die schwarze Venus. This opera, for no one reason in particular, sounds especially good at the Festival House. Wolfgang Windgassen is both heroic and melodious as the title character, while Silja is interesting if occasionally bizarre. Eberhard Waechter is always a lesson in German vocal technique. Sol
ti is at his masterful best with this score in his recording, contrasting frenzy with refinement, and the Vienna Philharmonic responds magnificently. Dernesch and Braun are excellent, and Ludwig excels, as always. René Kollo, however, is not quite up to this almost unsingable role. The Giuseppe Sinopoli recording blew away the nay-sayers on many fronts. The conductor himself refrained from the quirkiness that defined much of his early career, and delivers a strong reading of the score. Placido Domingo was said to be headed for early retirement when he announced plans to record this role, but his performance is awesome. While not the stentorian Tannhäuser of earlier generations, Domingo projects the contrasts of the role’s personality, from sexual to pious. The “Rome Narrative” is amazing. Studer is solid as Elisabeth, and Baltsa goes for a bit of camp as Venus. The Royal Opera Chorus surpass themselves under the direction of Norbert Balatsch, who is also the current resident choral genius of the Bayreuth festival.

  Lohengrin

  Rudolf Kempe, conductor. Thomas, Grümmer, Ludwig, Fischer-Dieskau. Vienna State Opera Chorus and Vienna Philharmonic Orchestra (1963). EMI CDS7 49017-8.

  Rafael Kubelik, conductor. King, Janowitz, Gwyneth Jones, Stewart. Bavarian Radio Chorus and State Orchestra (1971). DG 449 591-2GX3.

  Karajan, conductor. Kollo, Tomowa-Sintow, Vejzovic, Nimsgern. Berlin Deutsche Oper Chorus and Berlin Philharmonic Orchestra (1976). EMI CMS5 66519-2.

  Solti, conductor. Domingo, Norman, Randová, Nimsgern. Vienna State Opera Concert Chorus and Vienna Philharmonic Orchestra (1985). Decca 420 053-2DH4.

  Claudio Abbado, conductor. Jerusalem, Studer, Waltraud Meier, Welker. Vienna State Opera Concert Chorus and Vienna Philharmonic Orchestra (1992). DG 437 808-2GH3.

  Sir Colin Davis, conductor. Heppner, Sweet, Marton, Leiferkus. Bavarian Radio Chorus and State Orchestra (1995). RCA 09026 62646-2.

  The good old Kempe recording holds up remarkably well, with good remastering on the CD, firm conducting, and Jess Thomas actually interesting in the title role. Elisabeth Grümmer is right-on as Elsa; hers is a forthright portrayal from a bygone era, but loses none of the pathos this character needs. And any recording featuring Christa Ludwig is automatically a good bet. Still a good first choice. Rafael Kubelik knows his Wagner, but this recording is most notable for the “meow-mix” combination of Gandula Janowitz and Gwyneth Jones. These two go at it like stars of daytime soaps. Karajan hardly allows his singers’ characterizations to interfere with “his” orchestra on his recording. Solti, on the other hand, gives full rein to the vocalists, and they rise to the occasion. Domingo can portray sanctity like no one else. Look no farther than his rendition of Lohengrin’s final monologue on this recording if you want to know what people mean by Domingo’s “Holy Grail” voice. Jessye Norman, not an automatic choice for Elsa, colors her voice intelligently. Tenor Ben Heppner is the best feature of Sir Colin Davis’s offering.

  There’s no shortage of Lohengrin recordings, and half of them feature Cheryl Studer as Elsa. Of these, the best is Abbado’s recording. He and the legendary strings of the Vienna Philharmonic positively drip in piety. Jerusalem is intelligent and sensitive in the title role, and Waltraud Meier is sufficiently bitchy as Ortrud.

  Tristan und lsolde

  Solti, conductor. Uhl, Nilsson, Resnik, Van Mill, Krause. Vienna Singverein and Vienna Philharmonic Orchestra (1960). Decca 430 234-2DM4.

  Karl Böhm, conductor. Windgassen, Nilsson, Ludwig, Talvela, Waechter. Bayreuth Festival Chorus and Orchestra (Live, 1966). Philips 434 425-2PH3.

  Karajan, conductor. Vickers, Dernesch, Ludwig, Ridderbusch, Berry. Deutsche Oper Chorus and Berlin Philharmonic Orchestra (1972). EMI CMS7 69319-2]

  Leonard Bernstein, conductor. Hofmann, Behrens, Minton, Sotin, Weikl. Bavarian Radio Chorus and Symphony (1981). Philips 438 241-2PH4.

  Daniel Barenboim, conductor. Jerusalem, W. Meier, Lipovsek, Salminen, Struckmann. Berlin State Opera Chorus and Berlin Philharmonic Orchestra (1994). Teldec 4509-94568-2.

  Basically, buy the Karajan recording. His conception of the work is clear: It’s about sex. This is the best recording Jon Vickers ever made, and he made some great ones. One friend of mine swears he can actually hear the blood spurting out during the Act III monologue. Helga Dernesch is a sublime Isolde—more introverted than other great Isoldes of the past, but thoroughly convincing. If you’re one of those people who think this opera should be called Isolde (und ein bissel Tristan), you’ll settle for none but Birgit Nilsson in the title role. Although the Böhm recording is live, it’s the better of the two choices featuring the legendary Swede. Not only is she as strong and agile at the end of the evening as she was in the beginning, but she actually is even more involved than on the studio recording. Wolfgang Windgassen wowed them for a generation at Bayreuth, and you won’t be disappointed here. Solti’s studio recording is also excellent, but it’s missing something—sex. While the Bernstein recording is not quite the disaster everyone predicted it would be, it remains a curiosity and not the ideal first choice. Barenboim takes an unhurried (to put it mildly) approach to this score, wallowing in rich, deep tones. He leaves it to the singers to create a sort of inner excitement. While both Jerusalem and Meier do some of their best singing ever on this recording, he is more successful than she at communicating psychic urgency.

  Die Meistersinger von Nürnberg

  Hermann Abendroth, conductor. Schöffler, Suthaus, Scheppan, Dalberg, Kunz, Witte, Kallab. Bayreuth Festival Chorus and Orchestra (Live, 1943). PREI 90174.

  Karajan, conductor. Adam, Kollo, Donath, Ridderbusch, Evans, Schreier, Hesse. Dresden State Opera Chorus and Leipzig Radio Chorus, Dresden State Orchestra (1970). EMI CDS7 49683-2.

  Silvio Varviso, conductor. Ridderbusch, Cox, Bode, Sotin, Hirte, Stricker, Reynolds. Bayreuth Festival Chorus and Orchestra (Live, 1974). Philips 434 420-2PM32(1).

  Ernst Jochum, conductor. Fischer-Dieskau, Domingo, Caterina Ligendza, Lagger, Hermann Laubenthal, Ludwig. Berlin Deutsche Oper Chorus and Orchestra (1976). DG 415 278-2GH4.

  Sawallisch, conductor. Weikl, Heppner, Studer, Moll, Iorenz, van der Walt, Kallisch. Bavarian State Opera Chorus and Orchestra (1993). EMI CDS5 55142-2.

  Solti, conductor. Van Dam, Heppner, Mattila, Pape, Opie, Lippert, Vermillion. Chicago Symphony Chorus and Orchestra (Live, 1995). Decca 452 606-2DH04.

  Jochum’s recording of this opera is a fine accomplishment—he never loses control of the orchestra or the chorus, and that’s half the battle with this behemoth. Dietrich Fischer-Dieskau is bitch-elegant as Hans Sachs, making the role sound like the longest song Schubert never wrote. This is perfect for Sachs-as-philosopher, but this guy never made a pair of shoes in his life. Caterina Ligendza is refreshingly full-throated as Eva, rather than the vanilla Twinkies who are often thrust into the role. Domingo’s Walther is a revelation: his vast non-Wagner experience has taught him something about singing in ensembles, which is crucial here.

  Sawallisch’s Meistersinger was the first to be recorded in digital sound, and full sound is what this recording is all about. Bernd Weikl’s famous portrayal of Sachs captures all the world-weariness of the “been there, done that” cobbler. Any exhaustion in the voice only adds to the characterization. Cheryl Studer is vocally firm as Eva, though pure-music fans tend to appreciate her more than others, as she can come across as cold and uninterested. In the Act II duet with Sachs, she might as well be singing about shopping on Fifth Avenue. One can appreciate all of Ben Heppner’s vocal splendor on this recording, without any of the physical stiffness that sometimes marks his live appearances.

  Unless you’re a serious student of Wagnerian performance history, you’d have to be nuts to buy a live recording of this opera. The 1974 Bayreuth recording, well conducted by Silvio Varviso, is a mistake. The innumerable choristers tumble on- and offstage like a tryout for the Calgary stampede, and there’s not much left of tenor Jean Cox’s voice by the excruciating second scene of Act III. The quintet sounds like a convocation of cats in a moonlit alley. Pass it up, even though it
’s everywhere and usually on sale (and now you know why). One other live recording of interest to the ghoulish is the 1943 Bayreuth festival recording, loaded with names you’ve never heard of and never will. Although the sound production is predictably compromised, the musicianship is of a very high standard throughout. The soloists, orchestra, and chorus (which was filled out with members of the SS on leave) perform well—and all this as the German war machine was collapsing in flames! If you ever wondered why many people cannot forget the evil bond between Bayreuth and the Third Reich, this recording will provide answers. The production was one of Wieland Wagner’s first for the festival. Characteristically, he never, ever referred to it.

  The Ring

  Solti, conductor. Rheingold (1958): London, Flagstad, Svanholm, Kuen, Neidlinger, Watson, Kmentt, Waechter, Madera, Kreppel, Böhme, Balsborg, Plümacher, Malamut. Walküre (1958): King, Régine Crespin, Nilsson, Hotter, Ludwig, Frick. Siegfried (1962): Windgassen, Hotter, Nilsson, Stolze, Neidlinger, Höffgen, Böhme, Sutherland. Götterdämmerung (1964): Nilsson, Windgassen, Frick, Fischer-Dieskau, Watson, Ludwig, Popp, Jones, Guy. Vienna State Opera Chorus and Vienna Philharmonic Orchestra. Decca 455 555-2DMO14.

  Böhm, conductor. Rheingold (Live, 1966): Adam, Burmeister, Windgassen, Wohlfahrt, Neidlinger, Silja, Esser, Nienstadt, Soukupová, Talvela, Böhme, Siebert, Dernesch, Hesse. Walküre (Live, 1967): King, Rysanek, Nilsson, Adam, Burmeister, Nienstadt. Siegfried (Live, 1966): Windgassen, Adam, Nilsson, Wohlfahrt, Neidlinger, Soukupová, Böhme, Köth. Götterdämmerung (Live, 1964): Nilsson, Windgassen, Frick, Neidlinger, Fischer-Dieskau, Watson, Ludwig, Popp, Jones, Guy. Bayreuth Festival Chorus and Orchestra. Philips 446 057-2.