[Met Performance] CID:208620



Tristan und Isolde
Metropolitan Opera House, Fri, November 25, 1966




Tristan und Isolde (388)
Richard Wagner | Richard Wagner
Tristan
Ticho Parly

Isolde
Ludmila Dvoráková

Kurwenal
Walter Cassel

Brangäne
Irene Dalis

King Marke
Jerome Hines

Melot
Ron Bottcher

Sailor's Voice
Dan Marek

Shepherd
Paul Franke

Steersman
Robert Goodloe


Conductor
Georges Prêtre







Review 1:

Review of Miles Kastendieck in the World Journal Tribune

A NEW ISOLDE

Ludmilla Dvorakova sang her first Isolde for the Metropolitan Opera last night and won distinction for a warm-voiced, musicianly, and intelligent interpretation of the role. The fact that she is the best-looking Isolde to sing here in many years could add much more to that appraisal.

Looking and acting like a princess, she brought a womanly dimension to the role. Hers is not a big voice, nor is her performance large-scale. Within its framework, however, her voice reveals quality throughout its range, and her use of it reflects careful study. Particularly fine was her clean-cut phrasing at moments when she could easily have slurred the notes.

The purity of her upper register from the start and later when she applied more power promised well for growth. The shrieks in Act 2 came more from being hurried by George Prêtre's speeding up the tempo than from reaching for the notes.

THE LONE DUET

More dramatic fire would have enhanced her singing the curse in Act I, and more ardor would have heightened the meaning of the love duet in Act II. Nevertheless, both moments became far more expressive because of her singing since Ticho Parly's Tristan showed little interest in his Isolde, love portion or no love potion.

The Liebestod sounded self-conscious, possibly because the whole episode was so badly staged. She should sing it much more confidently next time. This handsome Isolde can fill an important place in the company right now.

Since Miss Dvorakova's voice is not brilliant, the performance as a whole became more cohesive. Parly sang well and earnestly within his dynamic range. He was at his best in the third act yet even then hardly within the role. This became only a serviceable Tristan though occasionally it suggested that it could become more than that.

Irene Dalis sang Brangäne with full-voiced ardor. Walter Cassel's Kurvenal was first-class vocally and dramatically and Jerome Hines' King Marke was vocally royal. The minor roles fared less adequately than usual.

WHIPPING UP TEMPO

Pretre brought little magic to the score though he conducted a musically satisfying performance. His idea of whipping up tempos to attain dramatic effects, generates feverish excitement, not drama. He has yet to get the feel of Wagner into his interpretation. When he does he may open Act 2 and 3 with more bite, rush less at Tristan's entrance in Act 2, and tone down the loudness that creeps into Act 3. These and other vital instances denote a less-seasoned approach, yet his musical intelligence, often guides him to catch moods even though he many not sustain them.

In general "Tristan und Isolde" fared more than acceptably in spite of the objectionable sets of Teo Otto and some very unimaginative stage direction.



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