This has to represent
one of the wonders of the Wagner discography.
Time and time again as I listened I
kept asking myself if there is a weak
link anywhere in this Tannhäuser
– time and time again the answer came
back in the negative. The recording
is mono but is nevertheless rich and
faithful, rendering the burnished Bayreuth
orchestra’s sound faithfully. Cluytens
leads as if inspired right from the
beginning – listen to how the overture
moves from prayer-like devotion to pure,
gushing joy (around seven minutes in),
brimming over with energy and positively
blazing towards the end. Neither does
Cluytens disappoint in the bacchic first
scene; tremendous string playing here,
along with a simply gorgeous sense of
the Romantic.
Windgassen is very
recognisable in his heroic assumption
of the title role. His shading of lines
is intrinsically stylish and he is every
inch the incarnation of lusty youth.
Only in the short track 7 (‘Stehts soll
nur dir ..’) is there the impression
that Windgassen wants to rush, with
Cluytens absolutely sticking to his
guns. Even here one can only admire
his huge reserves of power. Windgassen’s
calls of ‘Elisabeth’ (CD1 track 11,
around six minutes in) are pure magic.
Herta Wilfert’s Venus
is very much Windgassen’s match in their
scene (Act 1 Scene 2). Wolfert’s attack
is astonishingly true, yet she can be
amazingly seductive (CD 1 track 6, with
the orchestra no less inviting). More,
she can match her Tannhäuser, and
all comes together (Tannhäuser,
Venus and Cluytens) at the end of Act
1 Scene 2, where her ardent answer is
only matched by the Bayreuth orchestra’s
authority.
Gré Brouwenstijn
introduces her Elisabeth in the most
powerful of ways with ‘Dich, teure Halle’
at the beginning of Act 2 (after a simply
lovely prologue). She must have been
imposing to watch, for her presence
even through compact disc is overwhelming.
She opens out magnificently towards
the end of her solo. She could not hope
for a more ardent answer, surely, than
that provided by her Tannhäuser
(who enters with Wolfram immediately
thereafter), his ‘O Fürstin’ almost
trumpet-like in tone. Yet Brouwenstijn
is not as impressive in her Act 3 Prayer
- sliding up to the second syllable
of ‘Allmächt’ge Jungfrau’. Her
voice has an edge I am not sure appeals,
and there is a slight beat to sustained
lower notes.
The great Josef Greindl
takes the part of the Landgraf Hermann.
Despite fair stage noise at his entrance
(Act 1 Scene 4), he reveals amazing
presence. His contribution to Act 2
(Scene 3, ‘Dich treff’ ich hier in dieser
Holle’ and the longer ‘Noch bleibe denn
unausgesprochen’) reveals his big, resonant
voice to perfection. It is a joy to
revel in his very sound, yet he also
brings superb identification with the
material. No less a great singer (some
may disagree!) is Dietrich Fischer-Dieskau,
here evidently at the height of his
powers as Wolfram. His sense of line
is surely without parallel even in such
august company as on this recording.
Even his detractors, surely, cannot
resist his contribution here. Perhaps
his Act 3 ‘Wie Todesahnung’ demonstrates
his strengths best, where diction is
beyond criticism, the text is imbued
with meaning yet there is not the slightest
suggestion of anything being overdone.
Toni Blankenheim is
a convincing Biterolf. Volker Horn is
an excellent shepherd - so strong for
a boy; the chorus in this scene (as
pilgrims, Act 1 Scene 3; CD 1 track
9) is itself amazing in its supreme
balance at lower dynamic levels. All
choral work is exemplary even in terms
of distancing – try the end of Act 2.
As remarked already, it is hard to find
fault with Cluytens. I especially enjoyed
the way he was keen to underline the
score’s more prophetic moments. Bits
of Act 2, for example CD2 track 17,
sound amazingly like late Wagner here.
The photos show a production
(Wieland Wagner) marked by its beautiful
simplicity - modern decorators would
refer to its minimalism. But for present
purposes it is the music that is under
consideration. In a production that
was originally ear-marked for Eugen
Jochum, who pulled out at the last moment,
the Belgian André Cluytens triumphed.
Orfeo provides a plot
synopsis but no text or translation.
This is now the best
currently available Tannhäuser
by a considerable margin. By all means
hang on to your Sinopoli on DG, but
this Cluytens demands an airing on any
Wagnerian’s system.
Colin Clarke
Chorus and Orchestra of the Bayreuth Festival/André
Cluytens. 
