WAGNER Tristan und Isolde / Price, Kollo, Kleiber 4775355

The sound is gorgeous, the singers relishing the chance to bring to Wagner the kind of detail and beauty of tone usually associated with Lieder . . . It is an uplifting experience listening to this set . . . a splendid monument to Kleiber.

Aside from the quality of the voice, Price's tuning is spot on and she also has the dramatic character firmly fixed when lsolde's angry we can clearly hear it. There's also a great beauty and warmth in her so und. The orchestra playing from the Dresden Staatskapelle is absolutely stunning too -- Kleiber is a genius.

The Kleiber recording has everything . . . [René Kollo] does a great job as Tristan . . . Margaret Price is what makes it for me. The voice is amazing and she hits every note bang in the middle (something you don't always hear!) with thrilling drama, and of course Kleiber is sensational. At the climax of the "Liebestod", where Wagner writes forte, Kleiber sort of floats it -- I'm getting goose bumps just thinking about it. What an amazing effect!

. . . [the recording] provides a quite new slant on the work, thanks primarily to the volcanic passion of Kleiber's conducting and to Margaret Price's youthful and pure-toned Isolde. Rene Kollo is as usual a highly intelligent artist . . . Brigitte Fassbaender [is] an ideally solicitous and moving Brangäne, who has some of the opera's most beautiful music. No subsequent recording, and there have been quite a few, equals this . . .

Derart fulminant aufrauschende, derart himmelsstürmende Klangekstasen bietet sonst niemand. Sein "Tristan"-Geniestreich mit einer unglaublich starken Dresdner Staatskapelle klingt radikal, spontan und leidenschaftlich, fesselt mit flexiblen Tempi, leuchtender Transparenz und dynamischen Kontrasten.

. . . Carlos Kleibers schwelgerisch-präziser "Tristan" . . . Von Schönheiten am Rande wie Kurt Molls Marke und Brigitte Fassbaenders ominös dunkel glühender Brangäne über den kehlenzehrenden Einsatz der Margaret Price als Isolde bis zur Glanzleistung des Dirigenten -- diese Aufnahme bleibt für Fans ein Muss.

. . . Böhm 1966 [est] un instant mythique du Nouveau Bayreuth, Kleiber une relecture saisissante de vérité . . . End DVD, les nostalgiques de l'ORTF rechercheront la captation d'une soirée célčbre dans l'histoire des Chorégies d'Orange: Karl Böhm est dans la fosse et, sur scčne, c'est Birgit Nilsson et Jon Vickers qui duettent . . .

Carlos Kleiber dejó una versión inolvidable de cada una de las obras que pasaban por su tamiz. Probablemente el caso más emblemático sea el de este Tristán e Isolda cuya reedición . . . es digna de canonizar al autor de la idea . . . la batuta de Kleiber, con su aliento trágico por la inabarcabilidad de lo absoluto, al que, sin embargo, se acerca de forma asombrosa. El tempo reposado del director se recrea en cada compás, en cada nota con una intensidad oceánica en la que todo el espectro de sentimientos posibles queda maravillosamente plasmado. Si la perfección fuese sonora, no cabe duda que se parecería mucho a lo mostrado en esta grabación.