In John Neumeier's genuinely erotic choreography, the ballet becomes images of love from the innocent to the destructive . . . Colin Davis conducts the usual hybrid Paris-Dresden edition with theatrical drive. The chorus is simply stunning. Spas Wenkoff surpasses himself as a credible hero, sung with ardour and beauty. Jones is also in fine shape, singing with tragic fervour . . . Bern Weikl's Wolfram is strong, and Hans Sotin's Landgraf resonantly powerful.

Wolframs do not come nobler than Bernd Weikl . . . what a superb listener he is onstage. Hans Sotin . . . sings genuine Wagnerian bel canto. The standout among the "Minnesänger" is that always-powerful singing actor Franz Mazura (Biterolf). A Tölzer choirboy is the vocally capable Shepherd, onstage for both his first-act song and for the opening of Act 3.

Musically, the performance is nearly unassailable. Gwyneth Jones . . . is an imperious, silver-masked sex goddess in act I, then miraculously transforms into a pure sounding (and looking) Elisabeth for the opening of act II . . . The Bulgarian tenor Spas Wenkoff . . . is a robustly voiced, passionate, excitable Tannhäuser. Bernd Weil's lyrical baritone is placed in the service of a gentle, sympathetic Wolfram. Act III offers three consecutive passages of terrific dramatic potency, proceeding from Elisabeth's prayer, a manifestation of spiritual strength without a trace of self-pity to a leisurely-paced "Evening Star" to an involving Rome Narrative, in which the title character seems to be reliving his ordeal . . . Colin Davis's leadership from the pit is propulsive and carefully shaped . . . the Bayreuth orchestra, as always, is magnificent . . . this version belongs in any good-sized Wagner DVD collection.

. . . the performance is electrifying, managing the difficult feat of doing justice to Wagner's inspiration without seeking to gainsay its gloriously hybrid nature. . . . Davis is particularly in his element in the early stages of Act 2, to which he brings a Berliozian buoyancy . . .

. . . [man] nimmt am Fernsehschirm die expressive Personenführung Friedrichs wahr, die in spannungsvollem Kontrast zur kargen Bildsprache steht. In dem seinerzeit renommierten, heute kaum mehr bekannten Spas Wenkoff begegnet man einem Tannhäuser von quälender seelischer Zerrissenheit, die nicht nur darstellerisch, sondern auch vokal -- in einer wandlungsfähigen, heldischen Tenorstimme -- zum Ausdruck kommt. Gwyneth Jones leiht der Elisabeth und der Venus mimische und gestische Intensität sowie den glanzvollen Strahl ihres bei aller Kraft fraulich warmen Soprans. Hervorragende Leistungen erbringen auch die weiteren Solisten und der Festspielchor, packend wirkt das Dirigat von Colin Davis.

. . . una polifacética Gwyneth Jones . . . cabe a reconocer en esta enorme artista no sólo la hazaña vocal de cubrir los disímiles papeles femininos, sino la intensidad y credibilidad prestadas a la habitualmente ñoña Elisabeth, de quien realiza un memorable y emotivo retrato.