Vinyl mavens of the obsessive operatic kind may remember the Urania LP edition of this 1950 recording (whose cover is reproduced here), billed as the first complete studio “Tristan”. In fact, it incorporates the standard Act 2 cut in the love duet. Its original release served a lame-duck function until Furtwängler’s far superior (sonic, interpretive, vocal, instrumental) and truly complete EMI version came out in 1952. Both sets share Ludwig Suthaus in the title role (Tristan, not Isolde!), but the tenor sings more precisely and passionately for Furtwängler. Compare the Act 3 delirium sequence, or the ardent exchanges of love at the end of the first act and hear for yourself. The echo-y sound is hollow and cramped in the manner of F. Charles Adler’s turgid Mahler recordings, and the voices turn strident at loud dynamic volumes. Certainly the sonic drawbacks help mask the Leipzig Gewandhaus orchestra’s limitations (notably the dog-eared wind intonation on long, sustained notes and scrawny brass tone elsewhere), although Franz Konwitschny shapes the drama and supports his singers like the seasoned pro he was in the theater.
The original Urania booklet indicated that the recording sessions transpired without recourse to retakes or edits. Who really knows, at this late date? Margarete Bäumer’s agile and secure Isolde may not achieve the robust, statuesque Flagstad/Nilsson/Eaglen standard, but her presence and stamina are undeniable. Solid supporting characters are heard in Erna Westenberger’s Brangäne and Karl Wolfram’s strong Kurwenal. Probably the set’s greatest characterization is to be found in Gottlob Frick’s gripping account of King Marke’s Act 2 monologue, where his care with the text and diversity of mood create palpable tension in a scene that often dies on the theatrical vine. In sum, collectors who like to nose around postwar Wagner singing’s obscure but often rewarding byways will want to hear this Tristan. No texts or translations.
