Glyndebourne's celebrated production of Nikolaus Lehnhoff's Tristan und Isolde is a supremely intelligent achievement; gravely beautiful, haunting and meditative, it is deeply reflective rather than visceral, fortified by Roland Aeschlimann's stunningly effective set, a womb-like space through which the protagonists move like gods. Conductor Jiří Bělohlávek mirrors Lehnhoff's approach in his sophisticated plumbing of the score's depths, with every shift in texture carefully laid bare by an inspired London Philharmonic Orchestra. Nina Stemme's Isolde and Robert Gambill's Tristan, both gloriously lyrical, are matched by superb performances from René Pape as the betrayed and vulnerable King Marke and Bo Skovhus as Kurwenal, deeply touching in his helpless devotion to Tristan. This High Definition recording of a production of uncommon intimacy reveals the opera's music and drama in a new light.
Wolfgang Sawallisch (26 August 1923 – 22 February 2013) was a German conductor and pianist. (…) When he debuted at the Bayreuth Festspielhaus conducting Tristan und Isolde in 1957, he was the youngest conductor ever to appear there. (…) For thirty years, he was closely associated with musical events in Munich. Here he conducted practically all of the major Richard Strauss operas, Salome being the sole exception. He also conducted 32 complete Richard Wagner Ring des Nibelungen cycles and is credited with nearly 1200 opera performances in the city alone…
"…Thanks to Marek Janowski's inspiring direction, the singers' commitment and the peerless sound quality, this recording sets a new benchmark for Tristan und Isolde in the 21st century and undoubtedly it is one that all Wagnerites will wish to investigate. Unreservedly and enthusiastically recommended." ~SA-CD.net
The popular Prelude & the so-called Liebestod (“Mild und Leise”) from Richard Wagner’s music drama Tristan und Isolde are the most familiar parts orchestras play, most often in the 1859 concert arrangement by Wagner. (He preferred that the term Liebestod be applied to the Prelude only, & originally titled his concert version Liebestod und Verklärung, or “Love-death & Transfiguration.”) The featured work of this Chandos SACD is the 1994 suite arranged by Henk de Vlieger, fashioned from key parts of the entire opera, not just the beginning & end. Tristan und Isolde: An Orchestral Passion is a lengthy tone poem that includes key passages, in much the same manner as de Vlieger’s other symphonic syntheses on Der Ring des Nibelungen, Parsifal, & Die Meistersinger von Nürnberg.
Here is a band who show that America can still match Europe in progressive rock. A neo-progressive rock in a British way but played by an American band which includes six musicians. The music is for the most part high quality and contains crystal clear guitar breaks with the occasional acoustic guitar taking over. The keys and piano are a pleasure to hear. Admittedly these muso's are good with dual keyboards, good sax interludes and tidy arrangements. Yet another band in the Neo-Prog mould which have been influenced by Marillion.
‘Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth’s amazing acoustics. Robert Dean Smith is now a fine Tristan with a really beautiful voice. …Robert Holl made a moving King Marke, his magnificent bass nobly used. Some of the most beautiful singing came from Clemens Bieber's Young Seaman at the beginning.’ (The Stage)
Amphigourique, borborygme, cacochyme, kafkaïen, picaresque, surréaliste… Chacun s'approprie les mots à sa façon. Mais les emploie-t-on à bon escient ? Voici 320 termes éloignés de leur sens originel par l'usage, mal interprétés ou indûment employés. …