Word: tristan
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Sanders Theatre, the Boston Symphony is giving the sixth concert in its Cambridge series. The program, composed of numbers previously played in Boston, consists of Haydn's Symphony in E flat no. 99, Faure's "Elegie" for Cello and Orchestra, Ravel's "Rapsodie Espagnole", and the preludes "Lohengrin," "Tristan und Isolde," and "Die Meistersinger". The second half should certainly satisfy Wagner devotees; the first bears especial tribute the Dr. Koussevitzky's skill in program-making...
...outstanding, and merely seeks to charm the listener by its lyrical qualities. The number which follows the "Elegie" is Liszt's "Mephisto Waltz" and it too, in addition to various satanic passages, has a highly emotional section which is often compared with the music in the second act of "Tristan and Isolde." To relieve these two works, the program ends with Ravel's "Rhapsodie Espagnole...
...Sieglinde in Die Walküre, Flagstad exhibited a voice so clear and powerful, so even throughout its range, so flawless in its phrasing that most critics went ecstatic. Four days later came Tristan und Isolde and all hats were in the air. Flagstad could sing. Though she indulged in no pyrotechnics, she was quietly effective as she raised the cup, offered the love potion to Tristan. Again at the end she reached rare heights when, with her voice still fresh and sure, she kneeled beside Tristan's body and sang the demanding Liebestod...
Thereafter whenever Flagstad sang, the house was crowded to the doors and Tristan und Isolde became the season's bestseller. Question on every side was where such a singer had been keeping herself. Answer was that for 20 years she had had an uneventful career in Norway, singing at the Oslo Opera house where her talent was taken for granted...
Aside from a single Tristan und Isolde, poorly sung but flamingly conducted by Walter, Salzburg this year heard little of Wagner. It liked best the effete Viennese gaiety of Strauss's Der Rosenkavalier, the bubbling Italian gaiety of Verdi's Falstaff, the pure charm of Mozart's Don Giovanni, Cosi Fan Tutte, Il Seraglio, Figaro. Toscanini electrified audiences with Beethoven's Fidelio but he also made a great point of reviving a disused ''Reformation" symphony by Mendelssohn, banned in Germany because its composer was a Jew. This he played last Sunday in a broadcast...