Wagner: Tristan und Isolde: Prelude to Act 1

Themes of love and passion dominate these orchestral excerpts from Wagner’s music dramas. The legend of Tannhäuser contrasts the sensual allure of Venus with the ideals of courtly love and religious devotion. Die Meistersinger von Nürnberg pits an inspired but rash young singer against the traditions of the old masters in a song competition, with a beautiful girl as the prize. Tristan und Isolde, based on one of the world’s great love stories, is considered Wagner’s most revolutionary work, seamlessly blending themes of love and death into a shattering apotheosis. Gerard Schwarz’s other selections of Wagner excerpts can be found on 8572767 and 8572768.

Pierre Boulez, renowned for championing the most daring music of the 20th century, leads this 2003 Tokyo concert, played in the presence of Japan’s Emperor and Empress. Schoenberg’s Pelleas and Melisande could have received no treatment more royal than Boulez gives it at Suntory Hall with the Gustav Mahler Youth Orchestra

The Guardian observed, “For a quarter of a century now Boulez’s performances of all the modernists have set benchmarks . . . he remains unrivalled in the works of the Second Viennese School, and in Schoenberg in particular”

Birgit Nilsson. Richard Wagner. It was an operatic marriage made in heaven that lasted for over twenty years and, thanks to recordings, continues to thrill music lovers around the world. She sang her first Wagnerian part in Stockholm. It was Senta in Der fliegende Holländer. It was greeted rapturously and throughout her long career it was for her Wagner and Strauss roles that she was most noted. Many of the greatest recordings of music dramas and operas by these composers have featured her, and many appear on Decca. However, she also made two Wagner records for Philips – one with Leif Segerstam in 1974 of extended scenes from Walküre and Parsifal, another, in 1972, with Colin Davis of the Wesendonck-Lieder and extracts from Der fliegende Holländer, Rienzi and the little-known early Wagner opera, Die Feen (The Fairies). Also included are scenes from Tristan und Isolde, one of her great calling cards and of which she made at least two live recordings, one studio recording with Georg Solti, and another of scenes (with Grace Hoffman as Brangäne) with Hans Knappertsbusch.

Nilsson’s voice had the clear, silvery sound that seems to be characteristic of Scandinavian singers. It was rock solid, encompassed over two octaves, and was perfectly even, top to bottom. It was also enormous. Especially in the upper part of the voice it could take on a laser-like quality that simply sliced through the densest orchestral sound and speared listeners to the backs of their seats. That meant the great moments of a Wagnerian opera were truly monumental – a surging orchestra and a soprano who dominated everything, combined into an overwhelming climax as Wagner must have heard in his dreams.

Here is a snapshot of some of those great moments, captured on record, and bringing together three complete LPs – two made for Philips (Segerstam, Davis) and one for Decca (Knappertsbusch).

Elisabeth-Maria Wachutka trained as an opera and concert singer at the Richard Strauss Music Conservatory and at the University of Music and Performing Arts in Munich. The focus of her repertoire is the works of Wagner and Richard Strauss.

A stunning Wagner collection including all the major overtures and preludes (including the very rare and very beautiful Die Feen [The Fairies]), this collection is noteworthy for other reasons. For a start, it brings together in a single collection the complete Decca Wagner recordings of Zubin Mehta and the complete Philips Wagner recordings of Edo de Waart. It also features two rarities - Wagner's early Symphony (with the San Francisco Symphony and Edo de Waart) and a tiny choral piece - Kinderkatechismus - an absolute Decca rarity and much sought-after by collectors.