Wagner: Love Duets

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It appears that in 1862, three years before Tristanand Isolde's première, Wagner hoped that the Schnorrs, his original Tristan and Isolde, would give part of the Love duet in a concert performance.
This... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 5570042
Label: Warner Classics
Length: 57 minutes

Penguin Guide

Rosette

Wagner: Siegfried - Duets

Work length33:26

$8.00

$10.40

Deborah Voigt (soprano), Plácido Domingo (tenor)
Royal Opera House Covent Garden
Antonio Pappano
Recorded: 1999-08-28
Recording Venue: 26-28 August 1999, The Colosseum, Watford

Sehr langsam

Track length2:13

$1.00

$1.30

Heil dir, Sonne! Heil dir, Licht!

Track length4:55

$1.00

$1.30

O wüsstest du, Lust der Welt

Track length5:57

$1.00

$1.30

Dort seh' ich Grane, meine selig Ross

Track length4:14

$1.00

$1.30

Heilig schied sie aus Walhall

Track length4:11

$1.00

$1.30

Ewig war ich, ewig bin ich

Track length4:32

$1.00

$1.30

Dich lieb' ich: o liebst mich Du!

Track length3:36

$1.00

$1.30

Siehst du mich nicht?

Track length3:48

$1.00

$1.30

Wagner: Tristan und Isolde - Duets

Work length23:59

$6.00

$7.80

Deborah Voigt (soprano), Plácido Domingo (tenor), Violeta Urmana (mezzo-soprano)
Royal Opera House Covent Garden
Antonio Pappano
Recorded: 2000-01-18
Recording Venue: 15,17,18 January 2000, Abbey Road Studio No.1

O sink hernieder, nacht der Liebe

Track length4:39

$1.00

$1.30

Nie-wieder-Erwachtens wahnlos...Einsam wachend in der Nacht

Track length3:13

$1.00

$1.30

Lausch, Geliebter

Track length4:08

$1.00

$1.30

Doch uns're Liebe

Track length2:04

$1.00

$1.30

So starben wir, um ungetrennt...Habet Acht!

Track length2:38

$1.00

$1.30

Soll ich lauschen?

Track length7:17

$1.00

$1.30

Reviews
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Reviews

2010

It appears that in 1862, three years before Tristanand Isolde's première, Wagner hoped that the Schnorrs, his original Tristan and Isolde, would give part of the Love duet in a concert performance.
This never took place, and nothing was known about the musical preparations Wagner made for the event until 1950; even then it seems the material remained unexamined, and certainly unused, until very recently. Omitting the first 15 minutes or so, the duet was to start at 'O sink hernieder' and continue to the end, including in it the interpolations of Brangäne. The question which forms in the listener's mind as the end approaches is how that's to be managed.
This supreme expression of eroticism in music culminates in erotic catastrophe. It's hard to imagine a concert performance ending with the rude abruptness of the score, but worse to think of its possible closure (as in some early recordings) on a glib and alien major chord. However, without giving the game away, the solution constitutes a stroke of genius; it has that kind of simplicity and rightness that evokes a cry of 'But of course!', almost as though one had thought of it oneself – which assuredly one had not. Unfor- tunately the booklet-notes provide no information on the genesis of this ending. Amazing as it is to relate, Domingo's voice, after all these years and all this unsparing usage, is still the most beautiful – the most richly firm and even – on recordings of this music. He's exact and lyrical in his reading of the music and is largely, if not invariably, imaginative and convincing in his dramatic commitment. Voigt impresses as being less successfully 'in character', especially as the Siegfried Brünnhilde, whose exaltation and wonder lack the majesty of her godly state as they do the excitement of her humanity. The fresh and vibrant tones are good to hear even so, as is the firm-voiced mezzo of Violeta Urmana's Brangäne. The Covent Garden orchestra play for Pappano with fine attentiveness and exhilaration, and he seems to bringa renewing spirit to everything he touches.

Wagner: Love Duets

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