View Poll Results: What's your favorite Tannhäuser?

Voters
23. You may not vote on this poll
  • Barenboim: Chor der Deutschen Staatsoper Berlin & Staatskapelle Berlin

    0 0%
  • Cluytens: Bayreuth Festival Chorus & Orchestra (1955 live recording)

    0 0%
  • Elmendorff: Bayreuth Festival Chorus & Orchestra (1930 live recording)

    0 0%
  • Gerdes: Orchester und Chor der Deutschen Oper Berlin

    1 4.35%
  • Keilberth: Bayreuth Festival Chorus & Orchestra (1954 live recording)

    0 0%
  • Konwitschny: Berlin State Opera Chorus & Orchestra

    0 0%
  • Leinsdorf: Metropolitan Opera Orchestra and Chorus (1941 live recording)

    3 13.04%
  • Sawallisch: Bayreuth Festival Chorus & Orchestra (1961 live recording)

    1 4.35%
  • Sawallisch: Bayreuth Festival Chorus & Orchestra (1962 live recording)

    6 26.09%
  • Sinopoli: Philharmonia Orchestra & Chorus of Royal Opera House Covent Garden

    3 13.04%
  • Solti: Vienna Philharmonic Orchestra, Vienna State Opera Chorus

    7 30.43%
  • Szell: Metropolitan Opera Orchestra and Chorus (1942 live recording)

    1 4.35%
  • Szell: Metropolitan Opera Orchestra and Chorus (1954 live recording)

    0 0%
  • Other

    1 4.35%
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Thread: Favorite recording of Tannhäuser: Poll

  1. #16
    Senior Member Fritz Kobus's Avatar
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    Bumping this thread because we need a lot more votes before we can see if there is a clearly preferred recording on TC.
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

  2. #17
    Senior Member howlingfantods's Avatar
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    I voted Sinopoli the first time around, but it might be the Barenboim for me now. Eaglen makes a hash of "Dich, teure Halle" but is good otherwise, Hampson is a little light for Wolfram but is still among my favorites in the role, and Seiffert's turn in the title role has grown on me quite a lot. He's convincingly youthful and impetuous, although perhaps less angsty than one might ideally want--but at least he sings the role instead of singspiels it.

    And the recording and orchestral playing is incredibly rich and lush and beautiful. Barenboim seems to see the opera as fundamentally not a stage drama but more a long bit of ear candy, and honestly, that's probably the best way to experience this opera. I do wish he'd opted for the Paris version, though.

  3. #18
    Senior Member Woodduck's Avatar
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    Since I must have the Paris version, I guess I'll take Sinopoli. I'm not one who has a problem with Domingo's German, and he just sings better than most heldentenorish types.

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  5. #19
    Senior Member Fritz Kobus's Avatar
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    I only have three versions of this opera: Haitink, Heger (1951), and Sawallisch (1972):


    Haidink is Dresden. Not sure what Heger or the 1972 Sawallisch are because they don't come up in Wikipedias Tannhauser discography, which lists the version.
    "All of Italian opera can be heard in [Bellini's] "Ah! non creda [mirarti]."
    --Renata Scotto in "Scotto, More Than a DIva."

  6. #20
    Senior Member Rogerx's Avatar
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    I voted Solti...................

  7. #21
    Senior Member howlingfantods's Avatar
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    Quote Originally Posted by Fritz Kobus View Post
    I only have three versions of this opera: Haitink, Heger (1951), and Sawallisch (1972):


    Haidink is Dresden. Not sure what Heger or the 1972 Sawallisch are because they don't come up in Wikipedias Tannhauser discography, which lists the version.
    Sorry, don't have either of those so I can't help you with those particular recordings. Mostly though the difference we're talking about is the longer, more late-Wagnerian bacchanale in Act 1, and to a lesser extent the loss of Walther's song in the song contest--I actually favor keeping it so I prefer the Dresden there. The original Dresden version also didn't include Venus popping back up in Act 3 but I believe pretty much all performances preserves that Paris edit so strictly speaking, we're really talking about Paris vs Dresden/Paris hybrids.

    I'd be slightly surprised if the Heger or the Sawallisch were the Paris versions though--I believe at that time, most performances were still the Dresden (or a hybrid Dresden to be more accurate) version, and Sawallisch's other performances I do have are of the hybrid Dresden.

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  9. #22
    Senior Member DavidA's Avatar
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    The Solti is fine. His style of conducting suits this opera and it really is exciting. I did have the Bayreuth Sawallisch but the sound is pretty dull, something I find with many Bayreuth sets. This opera can be deathly dull and needs a conductor who can ramp up the excitement and no-ne does that better than Solti.
    Last edited by DavidA; Aug-08-2019 at 17:02.

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