Loading...

Tag: Tristan und Isolde

Berkshire Review’s Recommended Books and Classical Recordings 2011

I should most likely not distract you from giving a subscription to The Berkshire Review as a holiday gift. We need subscriptions to carry on our work, but there are a few items that have come in for review that I can warmly suggest as excellent gifts. These are not systematic, and they are not always serious, but we do recommend them. Some of them will be reviewed in detail over the following weeks.

Simon Rattle Conducts the Orchestra of the Age of Enlightenment in the Love Scene from Roméo et Juliette and Wagner’s Tristan, Act II

Point taken. Whenever period orchestras venture far beyond the Baroque, they have something to prove. But at last night’s concert of Wagner and Berlioz by the esteemed Orchestra of the Age of Enlightenment, some of the proof was self-evident. Banished completely are the intonation problems that plagued such ensembles in the past; one felt secure in the technical abilities of every section; the wind soloists played as expressively as anyone could wish. London is a center for period performance, which has become beloved. Sir Simon Rattle has conducted Act II of Tristan, in concert with the forces of Berlin and Vienna, but it’s good to be flexible, and since he enjoys a long-standing rapport with the OAE, they were a comfortable fit.

Wagner Cult and Conductor Cult

Huntley Dent’s recent review of Bernstein’s Mahler and now his lucid evaluation of several recordings of Tristan und Isolde put me in mind not so much of operatic traditions as those of the concert hall, since Wagner’s music drama is so deeply rooted in the orchestra and the conductor who leads it. The modern symphony orchestra and the concert halls in which they play evolved as a substantially bourgeois institution over the course of the nineteenth century.