After the success of Der Fliegende Hollander (The
Flying Dutchman), Wagner was convinced that legend must be
the source of his operatic material. For Tannhäuser, his
5th opera, he produced his own libretto based on 19th
Century medieval legends. After a disastrous première in Dresden
(1845), the work gained popularity and over the next ten years was performed
throughout Germany. During this time the composer made many amendments,
the final so called ‘Dresden’ version being eventually published in
1860.
Wagner was invited by Napoleon III to present the opera
in Paris, where it was customary to provide a ballet scene. The composer
took the opportunity to rewrite whole sections. The major result of
these changes was to enhance the role of Venus and extend the bacchanal,
providing an ideal opportunity for the required ballet. The première
of the Paris version was given in March 1861.
The various alteration made for, and after 1861, enabled
Wagner to move further away from ‘number’ opera towards his ideal of
music drama and involvement with the psychological states of his characters.
The solo line is often declamatory, and to allow the part of Tannhäuser
in particular to dominate the ensemble, Wagner needed a new breed of
tenor with a voice heavier than that in Italian opera – the heroic
or ‘heldentenor’ and henceforth this voice would be important in all
his works.
Tannhäuser is now accepted as one
of the great operas of the 19th Century and these days both
the ‘Dresden’ and ‘Paris’ versions are performed, albeit often with
the casting of the title role proving difficult. This recording is an
abridged ‘Paris’ version of the opera, with Act 2 Scene 3 omitted, together
with a reduced Act 3 and other minor cuts. The reductions were as suggested
by the musicologist and critic Earnest Newman. The cuts are not unduly
serious and none of the best known music is affected. Most importantly,
Act 1 is complete, allowing the inclusion of the most significant of
Wagner’s ‘Paris’ amendments to be included. It was first issued on thirty
six 78rpm sides by the Columbia Gramophone Company who, in 1927, had
made the first recordings from Bayreuth (excerpts from Parsifal),
returning the next year for extracts from Tristan und Isolde,
conducted by Karl Elmendorff. These recordings, like Tannhäuser,
were not of live performances but used the spacious empty Festspielhaus.
Following favourable reviews of the Parsifal and
Tristan recordings, Columbia determined to return in 1930 and
record the new production of Tannhäuser to be conducted
by the great Arturo Toscanini, with singers selected by him. However,
the maestro was contracted to Victor records (later RCA) and he was
unable to participate. Columbia turned to their own highly experienced
Wagnerian, Elmendorff.
Columbia’s accumulated technical expertise ensured
that the recording was, in its period, a marker and whose sonic qualities
are realised in this re-issue which, as for others in this Naxos series,
is realised by the remastering guru Ward Marston whose work has received
acclamation on both sides of the Atlantic. Certainly the orchestral
music in particular is superbly caught, being well balanced with the
voices; the whole in a forward clear acoustic that in many ways belies
its age.
One can only imagine how a Toscanini performance would
have differed from what we have. To my ears Elmendorff, without undue
haste, allows the music to unfold with full dramatic impact; long phrases
encompassed with elegance and no lack of vitality. With the orchestral
sound undistorted and clear, this is a major plus point for the set
although there are times when the voices get close to distortion. Surface
noise is not evident nor are significant variations in level. Of the
singers, four were making their Bayreuth debuts in this production.
For the role of the eponymous hero, Toscanini had chosen the Hungarian
Sigismund Pilinsky (1891-1957). He sang for only two seasons at Bayreuth.
His strong, essentially lyric tenor of pleasing tone and diction is
certainly no heldentenor and there are times when his lack of vocal
heft is audible, albeit that the strain is never unmusical or ugly.
The Venus is sung by Ruth Jost-Arden (1899-1965), again chosen by Toscanini.
She later sang Isolde, Brunnhilde, Kundry, Electra and Salome. She also
appeared in Paris, Milan and New York. The part is nowadays usually
cast for a dramatic mezzo with a full tone and high top. Jost-Arden’s
bright fresh-toned dramatic soprano, caught before any deleterious effects
of the heavier roles, makes an interesting contrast. She has good breath
control, adequate power and a fine legato line, although ultimately
she lacks the ideal seductive tone the Paris version, in particular,
calls for. The Elisabeth is the soprano Maria Muller (1898-1958) who
appeared at the New York Met. (1925-35) singing Mozart, Verdi, Strauss
as well as Wagner. She also appeared in Berlin, Covent Garden, Milan
and Paris. Her clear lyric soprano, warm and vibrant, is ideally suited
to the part, a good vocal actress she conveys the emotions of the part
to near perfection.
Both the lower voiced men are cast from strength. Ivar
Andrésan (1896-1940) sings the Herman. He sang 10 seasons at
Bayreth (1927-36) as well as Wagnerian roles internationally. His beautiful
sonorous, noble sounding voice is heard to good effect here (CD1 tk11).
Likewise the Wolfram of Herbert Janssen (1892-1965): he made his debut
at the Berlin Staatsoper in 1992 and sang there until 1938 when he went
to the USA, singing in the Met from 1939-51. He was greatly admired
as Amfortas, Wolfram, Gunther and Kurwenal, all of which he sang at
Bayreuth, Covent Garden and the Met. With a warm sympathetic baritone
he deserved international success as preserved here. All the smaller
parts are well taken. Of particular note is the Hirt (shepherd boy)
of Erna Berger (CD1 tk2) where her pure tone and even legato are well
caught and indicative of the career to come.
The issue is accompanied by a leaflet with a track-related
synopsis and brief notes on the recording and the singers.
Robert J Farr
Sigismund Pilinszky (ten)
(Tannhäuser), Maria Müller (sop) (Elisabeth), Ruth Jost-Arden
(sop) (Venus), Ivar Andrésen (bass) (Wolfram)