Arturo Toscanini Collection, Volume 49: Richard Wagner

On this CD:

1. Tannhäuser, opera, WWV 70 Overture und Bacchanale
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

2. Lohengrin, opera, WWV 75 Act I: Prelude
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

3. Tristan und Isolde, opera, WWV 90 Liebestod
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

4. Die Walküre (The Valkyrie), opera, WWV 86b Walkürenritt
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

5. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Morgendämmerung und Siegfrieds Rheinfahrt
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

6. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Siegfrieds Tod und Trauermarsch
Composed by Richard Wagner
Performed by NBC Symphony Orchestra
Conducted by Arturo Toscanini

Tracks:

Tannhauser: Ouverture und Bacchanale
Lohengrin: Act I Prelude
Tristan und Isolde: Liebestod - Mort d' Isolde
Die Walkure: Ride Of The Valkyries
Gotterdammerung: Dawn And Siegfried's Rhine Journey
Gotterdammerung: Siegfred's Death And Funeral Music

Customer Reviews:

Spectacular Wagnerian excerpts.......2006-03-22

There's no question that Arturo Toscanini (1867-1957) considered Richard Wagner (1813-1883) the greatest and most innovative composer. This has surprised many who would have expected that Toscanini would place his countryman Verdi (1831-1901) before Wagner; however, even Verdi himself paid homage to the German master. (Verdi was frustrated by his efforts to meet Wagner; he would have been deeply hurt had he known that Wagner did not think they were musical equals.) It should be stated, too, that Toscanini dismissed or ignored the more annoying aspects of Wagner: his controversial or scandalous personal life and his racial diatribes. Toscanini focused on Wagner the composer and what he achieved as a musician.

The greatness of Wagner's music can be readily appreciated in these six excellent excerpts from his operas. Toscanini gives a rare, uncut version of the Paris overture to "Tannhauser," running a little over 25 minutes. This is the same music that caused Toscanini such grief during his final broadcast concert on April 4, 1954. This 1952 "studio" recording in Carnegie Hall has none of the faltering that occurred during the final broadcast. Instead, we have superb, intense, dramatic, and very romantic playing by the NBC Symphony. It is absolutely overwhelming and amazing, especially to think that Toscanini was already 85 years old when he conducted the performance. The energy in the performance is absolutely astonishing, almost as if the Maestro was trying to prove he still was very youthful despite some recent health issues.

The prelude to Act I of "Lohengrin" is often overshadowed by the showier, more spectacular prelude to Act III. Toscanini conducted and recorded both preludes. Here is the subtler, quieter, and more intimate score, with its lush and very intense writing for strings. It is one of those showcases of the incredible string section that Toscanini had built at NBC. There is a great serenity and nobility in the music, too, particularly as Wagner anticipates the coming tenor solo, "En fernem land," with the brass magnificently shining forth to proclaim the heroic melody.

The "Liebestod" from "Tristan und Isolde" is usually heard in concerts with the prelude. These are concert arrangements, minus the singing. For those who have trouble listening to the full-length (and very lengthy) opera, this is a tantalizing and very powerful studio recording of just the "Liebestod." It is taken from 78-rpm discs and, despite some surface noise, has remarkably good sound.

Toscanini's 1952 recording of the "Ride of the Valkyries" is the best known of his several recorded performances. This one, however, was made six years earlier and it once again shows the variety that the Maestro achieved in continually going back to scores he knew and achieving a fresh approach. While the fidelity is not as high in this version, there is clearly a brilliant and energetic approach to the music, probably because Toscanini recognized the context of this brief work in the total opera.

The two orchestral excerpts from "Gotterdammerung" are thoroughly enjoyable. There is such magnificence in "Dawn and Siegfried's Rhine Journey," in a special arrangement that Toscanini prepared for his concerts. He also recorded this same music in February 1941 with the vocal duet intact (and magnificently performed by Helen Traubel and Lauritz Melchior). This version is without singing and is equally impressive. A musician friend who once heard this music with me marveled at what Wagner had written and how well Toscanini had succeeded in getting the NBC musicians to play with their hearts.

Then there is "Siegfried's Death and Funeral Music," featuring some of the most exciting brass writing achieved by Wagner. In Toscanini's hands, this is extremely dramatic and almost over-the-top in its intensity. This writer once thought the music might have been written by Gustav Mahler (1860-1911), who continued in a similar grand romantic style and also wrote for very BIG orchestras. Nevertheless, close listening will reveal that Wagner, as well as Anton Bruckner, probably set the stage for the final great gasp of late Romanticism under Mahler. Here is the original, innovative composer, who defied all conventions and didn't care what others thought about him, as he pursued his dream of writing truly new and original music for his time. His musical achievements remain absolutely amazing.

Fortunately, RCA Victor had the sense to record the augmented NBC Symphony Orchestra in Carnegie Hall for these performances. The results remain quite impressive, even if recording technology has advanced considerably since these original recordings were made. Digital technology, of course, has helped to greatly clarify and enhance the recordings.

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