Tristan und Isolde Studio recording in stereo December 2-4, 6-10 & 13, 1971 January 10, 1972 Conductor: Herbert von Karajan Tristan Jon Vickers Isolde Helga Dernesch Brangäne Christa Ludwig Kurwenal Walter Berry Marke Karl Ridderbusch Melot Bernd Weikl Ein Hirt Peter Schreier Ein Seemann Peter Schreier Ein Steuermann Martin Vantin Berliner Philharmoniker Chor der Deutschen Oper Berlin

EMI, CMS 7 69319 2 4 CDs ADD Back Find any errors? Review by Constantijn Blondel This is one of the most chilling Wagner performances I have on my shelves. Karajan tunnels between chilling intensity, delirious sensitivity and harsh aggression. To quote the 'rough guides' "This recording is an essay in violence". Helga Dernesch sings a glorious Isolde, equally at home with the revenging princess of Act I as with the ecstatic lover of Acts II and III. As I mentioned in my Karajan-ring reviews, she possesses much of the cleaving- power that Birgit Nilsson also has, which makes Ms. Dernesch a feast to listen to. Tristan is sung by Jon Vickers, and his performance is frighteningly compelling and convincing. Especially in Act III he seems to balance on the edge of sanity. Vocally he sings the inhuman role with ease and it is truly an experience to listen to his voice. Christa Ludwig is probably the ideal Brangäne and - as she is in the Böhm set - she gives the role depth and sings it with real beauty. Walter Berry is a good Kurwenal, though not as sympathetic as for instance Eberhard Wächter. Karl Ridderbusch makes the ideal König Marke, with his sympathetic, calm and mild voice...he is not as much angry with Tristan as sad that his friend has done this to himself. The BPO playing is - as always - gorgeous. The Jesus Christus Kirche acoustics make for a sort of spooky,sound and the orchestral details all blend into one hypnotising sound-picture without loosing the audibility of the individual instruments. This is one of the best-ever Wagner recordings and highly recommended.