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sorach <[EMAIL PROTECTED]> wrote
Now that Andante.com have released a re-mastered the Toscanini/VPO, have your rankings of favorite Meistersingers changed? Has there been a vast improvement in sound to warrant such a change?
Not for me. The sound leaves much to be desired. I'm glad I got the
Toscanini Meistersinger, but they are more an interesting and
enriching experience than a favourite recording.
I tend to think it may be a more central entry than that. Since I have had one of the so-so LP editions of this for years, it may be that the exhilarating improvement in the Andante CD has me more enthused than some others might be -- purely because the contrast drawn with any of the LP editions is so stark. There is, for the first time, real space and dynamic range in this recording, and I now find I can respond to it as if I were sitting right there in the auditorium rather than merely picking my way through a series of inchoate sounds. For its place in the overall discography, see below.
I'm not upto date with developments, but what about Abendroth & Kubelik? Are they getting any treatment in the near future?
--snip--
The Kubelik Meistersinger have recently appeared on the ARTS label.
There was a thread about it some weeks ago.
I concede I have not yet heard the Kubelik in this new ARTS pressing. Apparently, though, the out-of-print CALIG was superior to the MYTO pressing, which is the one I have. As it is, the MYTO pressing has always given me great satisfaction, while, at the same time, the Kubelik's place in the discography may have been challenged in certain respects by the ANDANTE Toscanini, but not in all (more below).
In any case, as a recording, the MYTO edition of the Kubelik is already one of the most satisfying readings I know. Kubelik's way with the score captures the midsummer feel to perfection, IMO, and his principals parallel this warm inviting approach to what is, after all, a comedy of manners -- with heart.
Particularly welcome are the refulgent sounds of Gundula Janowitz and Sandor Konya as Eva and Walther. Brigitte Fassbaender's Magdalene is not far behind them, and Unger still sounds almost as youthful a David as in his earlier reading on Kempe's second recording (for EMI). The rest of the cast is certainly satisfying as well.
But to cut to the chase, while Stewart's Sachs is certainly strong and musical and accords well with the human tenderness of Kubelik's other principals, he does have a few moments of strain and unsteadiness that may bother certain listeners. I find my own responses to these very occasional lapses vary somewhat depending on mood, concentration, grouchiness....;-) Also, I have to say that there are extended sequences where Stewart is perfectly fine in every respect. Pages and pages of lively projection of one of the most likable characters in the canon, IMO. That counts for a lot. But dipping into the slightly-past-his-prime-but-still-musical Paul Schoeffler on the studio Kna, for instance, reveals the extent to which Stewart is not quite as comfortable in his own skin as a truly great Sachs (like a Schoeffler or a Schorr) can be.
The Toscanini lineup has no such inequality, IMO. The rest of the cast may not be quite so consistent as Kubelik's, but the critical Sachs/Eva/Walther trio of Hans Hermann Nissen/Maria Reining/Henk Noort is simply so consistently strong and sure in the Toscanini and Toscanini's own conducting complements that strength to such a degree (although I do prefer Kubelik here by just a tad) that the overall effect of this recording reflects a surer _artistic_ whole, I feel, than what we hear in the Kubelik! That is a headline in itself, I feel, since the Kubelik set, purely as a performance, has always seemed one of the finest artistic achievements in the discography anyway -- and now, artistically, the Toscanini tops it. Janowitz and Konya's peaks in the Kubelik may sparkle even more than Reining and Noort with Toscanini, but Reining and Noort are never less than good, while Nissen seems somewhat more at ease in Sachs's skin than Stewart is. His stalwart interpretation is welcome, even though it may not have quite the haunting autumnal insights of the very greatest in this part. Best of all, unlike many Wagner performances from this period, this performance is uncut.
There remains the matter of sound quality. There are places where this new restoration of the Toscanini reminds me of early 1950s mono! Since both the studio Kna and the second Kempe are also in 1950s mono, and yet their top three principals are not as consistent as in the Toscanini while the overall cohesiveness of these two studio sets is still superb enough nevertheless to warrant their being placed in the very front rank of all available Meistersingers, then, at the least, the Toscanini too, with its occasionally-as-good-sound and generally stronger trio leading the cast, deserves equal consideration.
The Kubelik, though, has truly excellent sound altogether (and I've only heard it in the supposedly inferior MYTO!!). Its distinguishing characteristic then is that it is the most revealing and well-prepared reading of the score available in modern stereo. That puts it in a very special niche. No question. Neither the Toscanini, the studio Kna, nor the second Kempe can match that.
Out of roughly thirty readily available Meistersingers, there are now, I feel, ten competitive entries.
[in chronological order] 1. In 1936, from MUSIC & ARTS, we have a "live" Met broadcast, featuring Friedrich Schorr, Elisabeth Rethberg and Rene Maison, under Artur Bodanzky. This is a lively, thoroughly engaging performance with vivid characterizations and wonderful singing throughout. Schorr's warm, consoling vocal "face" for this role, his always lively imagination and mercurial projection of the character's many moods, plus his caressing vocalism, place his Sachs in a class by itself. One feels one is privy to Wagner's own imagination in Schorr's reading. A treasure, which we are highly privileged to hear nearly seventy years after it took place! The rest of the principals are nearly at the same exalted level, and Bodanzky's conducting is keen and lyrical. The cons here are fair sound only and dozens of cuts in the performing edition the Met was using at the time.
2. In 1937, from ANDANTE, there is the Toscanini set, which I've already covered, and which has the advantage of almost as strong a cast as in #1 and heard in significantly better sound and uncut.
3. In the early '40s, under Abendroth, we have a lively performance featuring the other great Sachs, Paul Schoeffler, in his absolute prime. Most of the other principals, including the underrecorded Hilde Scheppan as Eva, sound fine as well. This is also in good sound. If you find it hard to enjoy Schorr's Sachs in compromised sound, here's a chance to enjoy uncut the entire work with a Sachs, Paul Schoeffler, who also dominates with almost as lively and beatiful an interpretation as anything you hear in Schorr. Enjoying Sachs's music in this way, uncut and in good sound, places this set in a class of its own. Where I find this one wanting -- and some may demur -- is in Ludwig Suthaus's Walther. It is clear that Suthaus is still in his youthful prime, but I find the role a bad fit. However fresh his instrument, too much of the high-lying music emerges in an effortful manner, IMO, and heard through two or more playings, this can sometimes cast a pall over continued enjoyment of the performance as a whole -- for me, anyway. Another aspect that sometimes bothers me a bit less, although I deeply respect and can readily understand those who might find it much more troubling, is the period and country in which this performance takes place: Nazi Germany. For some, this aspect can make people's blood run cold. And I can't say I'm ready to blame them. Ultimately, though, it's tenor inadequacies that, IMO, relegate this to being merely a strong entry rather than one of the very best.
4. In 1949, under Jochum, we have, from Munich, one of the liveliest readings of all. The third great Sachs, Hans Hotter, leads the cast. His Sachs may be the most insightful of all, while vocally he tires somewhat in the closing moments. Treptow is heard in his absolute prime, and I must say I enjoy his usually musical and well-interpreted Walther. No question his is not the bright easy kind of tenor best heard in this role. But I rarely find him off-putting here (the way I do Suthaus). Kupper's Eva, though, I do -- find off-putting, that is. An entirely unsympathetic vocal "face", IMO, registering far too much effort in one of the most deftly written roles Wagner ever conceived. What a shame. Jochum's reading is delightful and deserves an article in itself! Nothing is missed in a brilliant traversal. The vivid goings-on in every scene have the effect of animated conversation throughout, precisely what the earliest conductors who learned this opera from Wagner himself were consistently praised for. This conversational quality is the touchstone of the very greatest Meistersinger conductors, and Jochum has it for days! What a revelation. If not for his Eva............
5. The same lively conversational quality triumphs in Karajan's first set, "live" from Bayreuth, 1951. In fact, in many ways, this is the most thoroughly amusing interpretation as well. The humor in the work is always brought out effortlessly and naturally. Edelmann's Sachs is more in the Nissen mold than most of his distinguished predecessors. But one salutes a vocal resiliency that is even greater than Nissen's(!), reaching the final moments with untiring resonance and vocal line. Schwarzkopf's Eva is also heard at its very best (possibly the best reading on disc?). The con here (there's always one:-( ) is Hans Hopf's Walther. IMO, his ungainly pummeling of this music is simply unacceptable. He may have a somewhat stronger vocal resiliency than Suthaus, for instance, but his approach and voice is less attractive. I really cannot take to him, and sincere regrets to any Hopf fans who may be reading this. That said, for a lively, amusing and well-directed performance, one could do a lot worse than this.
6. From 1950/'51, on DECCA/LONDON, we have, under Hans Knappertsbusch, the first set made in the recording studio. Surprisingly, the sound is relatively thin and undernourished. It's hardly inadequate, merely not up to what one would have expected from DECCA/LONDON at the time. That said, this Kna reading is enthralling from beginning to end. Again, the conversational quality is truly caught. The unforced lyricism in much of the performance also achieves a naturalness that may be unique in the discography. And we have Paul Schoeffler's superb Sachs. Here, he may not be as fresh-voiced as for Abendroth, but he is still in quite good control (with his vocal flexibility still sufficient for the divisions in the "Euch macht ihr's leicht"), and the sheer musicality and keenness of his Sachs are as welcome as ever. And he is in better company than for Abendroth. Gueden's Eva is a marvel and epitomizes the gemutlich qualities of most of Kna's principals, and, for a wonder, we even have primo tenore Anton Dermota delivering the most lilting David on disc! For Walther, we rehear Gunther Treptow, two years older than for Jochum -- and sometimes sounding older than that in Act III. The rehearsal scene with Sachs in the cobbler shop is occasionally disconcerting and does not wear well. Elsewhere, he's not that objectionable, IMO, but he is simply not as natural-sounding as for Jochum. If there's a flaw in this set, it would be that rehearsal scene. Aside from that, this may be the most enthralling Meistersinger I've yet heard.
7. In 1952, we are back to a "live" performance. This time, it's Bayreuth, and in the pit is, once more, Hans Knappertsbusch. This is an even greater reading from him than we hear in DECCA/LONDON's recording studios! His cast is not quite at the same exalted level, but it's rarely bad. Edelmann repeats his accomplished Sachs, and this recording affords a rare opportunity to sample Lisa Della Casa's Eva: a bewitching Eva, and one of the most sympathetic available. This was, of course, the same Bayreuth production as the Karajan a year before, so we shouldn't be surprised, though disappointed, to find Hopf repeating his wearying Walther. This recording showcases, all told, a wonderful reading of the score from Kna -- possibly the finest reading from anyone on disc save Wilhelm Furtwaengler's available with a dismal Grade-B cast during the war -- though this Bayreuth set's cast is not of the same high rank as Kna's fine studio effort.
8. From the mid-'50s, on EMI, we have the last of the great thoroughly conversational readings: Kempe's second Meistersinger is as inspired in this regard as Jochum, the young Karajan, or Knappertsbusch -- and Kempe has a genuine warmth all his own. His cast is generally excellent as well, and I can understand why many regard this as the best set of all. Frantz's Sachs may not be the most perceptive ever, but he is strong enough in the role to equal (almost) a Nissen or an Edelmann, IMO, and Gruemmer's Eva sports a lovely vocal quality and the inborn vividness of a true actress. When luminaries like Gustav Neidlinger, Gottlob Frick, and Hermann Prey (as the Nightwatchman!!!!!!!!!!), and so on, are heard in supporting roles, one has to acknowledge this set as something very special indeed. Rudolf Schock's tenor voice is more suited to this role than that of some of his predecessors like Suthaus or Treptow, but I stand in a minority in that I find the strain heard in Schock's singing even more disconcerting than Treptow's on the studio Kna. As I say, I recognize this as a minority opinion, but I feel that, ultimately, Schock's occasional struggles simply compromise the phrasing more than do Treptow's, the latter seeming marginally more musical to me. Schock still seems more attractive in this role, though, than Hopf.
9. From the mid-'60s comes the Kubelik set, which I've already covered in Part I. I would like to add here that I wholeheartedly admire the warmth and naturalness of Kubelik's music-making, but that the Kubelik reading -- more perhaps because of the vocally flamboyant qualities of most of Kubelik's principals than because of Kubelik himself -- does not have as universally conversational a quality as some other choice sets, veering more toward the oratorical, though not necessarily in a bad way. However, this set does have just enough of the conversational to qualify as one of the finest recordings available.
10. From 1995, on DECCA/LONDON, we have, in Solti's second Meistersinger recording, quite the most consistently musical cast heard in this score since 1937 and Arturo Toscanini. Van Dam's Sachs may not have the rolling orotund vocal quality of the greatest bass-baritones heard in the part, but Van Dam's refinement and insight, his sense of the poetic, and, above all, his invariably disciplined shaping of the music, stamp him as one of the fine ones, IMO. I recognize this take on my part as not necessarily a prevailing view. Some believe that Van Dam brings out too much of the poet at the expense of the cobbler. But I believe that the cobbler is not necessarily short-changed, merely placed in a less conspicuous perspective. (Sometimes, I believe that too many others with the requisite burly tones have inadvertently short-changed the poet faaaaaaar too much, BTW!!!) And in a way, Van Dam's emphasis may be thanks to Van Dam's own intelligence and self-awareness vocally. Recognizing that his tones are not as burly as others, he may have deliberately decided to make Sachs _the_ philosopher of the Mastersingers circle. Of course, Schorr and Schoeffler already do this to an extent (listeners steeped in later and gruffer readings tend to overlook this), but Van Dam is the first to do this so overtly in modern times. And I welcome this as a necessary corrective. The musically disciplined quality in Van Dam is typical of everyone else in the cast. Mattila and Heppner are clearly a bel canto pair of lovers, and one has to wonder whether anyone has ever sung Pogner with more "Golden-Age" sound than Rene Pape. Solti's reading, though, is the antithesis of the conversational Karajan, of Kempe, what-have-you. This Meistersinger is _serious_, with a high sense of purpose and decorum in all its characters. It is not unfelt at all, but what the characters say here is rarely offhand or intimate in the way we hear from others. These are characters reflecting a consistent aristocracy of spirit that can sometimes be touching and sometimes be distancing. It's not the way I'd always want to hear the score, but it's not necessarily wrong for all that. An interesting alternative view, complemented by music-making as superb as we can ever expect to hear.
Of these three, the Toscanini has the best overall cast, the Kna is the best conducted, and the Kubelik has the best sound. But essentially, they each give huge satisfaction, and I wouldn't be without any of these.
Both these sets I've occasionally slotted in at the top tier in the past -- and may do so again;-)
On the second Kempe, Schock's intrinsic type of tenor is apt enough for Walther to complement -- to an extent -- the sheer rightness of everything else in this set. If it was just a matter of Schock's intrinsic sound and not also a troubling matter of what he _does_ -- or seems ultimately unable to do -- with that sound, this Kempe set could well be the very finest of all: fully as warm as Kubelik, just as conversational as the studio Kna, more consistently sung than the Toscanini (putting aside Kempe's Schock).
The second Solti is such a feast for the ears, both vocally and sonically, if not for the heart, that there have been times when I've wondered when Wagner's music has ever sounded so beautiful. But with the Toscanini now being made available in at least respectable sound, if not comparable to the superb sonics in this Solti, and with the Toscanini boasting just as fine a cast overall with superior conducting to boot, the Solti with its similar range of virtues and (somewhat) less engaged conducting (IMO) now gets slotted in second. This is certainly one clear instance in which the advent of the ANDANTE Toscanini has changed substantively the face of the Meistersinger discography, in my view.
Just to clarify, I wouldn't think it necessarily unfortunate were one to choose either the second Kempe or the second Solti as one's introduction to Meistersinger.
The Bodanzky is the most superbly sung of all. The Abendroth boasts the most superb uncut and decently recorded Hans Sachs. The "live" Jochum is the most vividly characterized. The first Karajan is the most genial and amusing. The "live" Kna is the most superbly conducted.
Our understanding of Wagner's score would be the poorer without each and every one of these sets, but I might still demur at choosing any single one of them as one's introduction to Wagner's masterpiece. One shouldn't, it strikes me, get introduced to Meistersinger via cuts and very ho-hum sound (the Bodanzky), one's first Meistersinger should not have as effortful a Walther as the unsuitable Suthaus or the ungainly Hopf (however young Suthaus is with Abendroth and however sparkling the humor be on the first Karajan or inspired the conducting be on the "live" Kna), and one shouldn't have as one's first Eva a vocal persona who seems older than the Magdalene(!) (the "live" Jochum).
I admire these because there are certain things that emerge more distinctively on them than anywhere else, but they're only recommended after one has already learned the opera well via one of the other five sets cited further up (in fact, I don't now own either the Abendroth or the "live" Kna -- that could change, of course).
2. Elisabeth Rethberg/Hilde Gueden/Lisa Della Casa/Elisabeth Gruemmer/Gundula Janowitz/Karita Mattila
3. Toscanini; Abendroth; "live" Jochum; Knappertsbusch (studio); Knappertsbusch "live"
Geoffrey Riggs www.operacast.com
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