glamour at the expense of glory

Solti's studio recordings of Wagner are all very fine accounts. The Singers are usually the best of their times - and the performances were meticulously well recorded. This recording impresses with a star studded cast of Wagner-greats. Alas, it doesn't come quite together.

On the sound quality, this recording gets high marks - indeed, few recordings (Barenboim on Teldec a notable exception) can match this 1986 recording from the Sofiensaal in Vienna.

On the Singers:
Heinrich der Vogler, King of the Germans is the notable bass/baritone Hans Sotin. He sings admirably, as one would expect, with a voice that connotes paternal well-wishing - and a certain joy in singing a role he obviously feels comfortable in.

Placido Domingo's Lohengrin is a dicey matter. His voice, his singing would have Domingo be the best Tenor alive. Unfortunately, Wagner isn't always getting the best of Domingo. For one, his pronunciation isn't great. This is particular important to German-speakers and can make or break an Opera for some. Domingo still works on his pronunciation, which is admirable; especially for a man in his position. But this recording shows why. (I had the pleasure of noticing the improvement when I saw him last month in Washington in Die Walkuere (or in a cameo at "Die Fledermaus", singing Lehar's "Mein Herz..." - though, still, the troubles were audible)

Even on the singing front, Act II shows uncharacteristic weaknesses in voice and stamina - which is particularly curious, given that this is a studio recording. (Mr. Domingo does not sing on stage the more demanding Wagner-Tenor roles, for lack of stamina) Given the notorious shortage of true Heroic-Tenors for Wagner roles such as Lohengrin and Tristan, Domingo is, not the least due to his name-recognition, the obvious (if not best) choice for this production.

Elsa von Brabant as sung by Jessye Norman is vocally radiant. She is on cruise control - and the mere beauty of her voice makes her a top-notch - if too 'luxurious' - Elsa.

Siegmund Nimsgern as Friedrich von Telramund flawless without being lifeless and often (literally) is outstanding.
His standing up to dooming defeat is often more heroic than Lohengrin. His wife (Friedrich's, not Mr. Nimsgern's Ortrud is sung well by Eva Randová. She does not seem to measure up to the demonic/heroic expectations that I have of her role.

The King's Herald is veteran Dietrich Fischer-Dieskau - close to retirement he sings this role as well as he needs to - and is indeed the singer I like the best on this disc. His declamatory style (honed in thousands of Lied-recordings) rings true for the Herald. It is one of his more likable roles in the Wagner repertoire... and surely less controversial than his (good) Hans Sachs in Die Meistersinger.

As a whole, however, this doesn't quite mash... and I am at pains to describe why. For sure, I am annoyed with Mr. Domingo's performance - which doesn't help. Solti and the Vienna State Opera Orchestra (the musical body from which the members of the volunteer-Orchestra the Vienna Philharmonic are drawn) perform creamy Wagner to a general liking - but devoid of mystique, flair and aura. The spirit of Bayreuth couldn't be further from this recording. It is all, if I can put it that way, 'too obvious'... Superficial? Without fault, but also (Jessye Norman partially and Nimsgern entirely excluded) without a general draw to it.

Comparison does not bode well. Despite their age and natural deficiency in quality of sound, both the superb account of Sawallisch (Philips/1963) and Kempe (EMI/1963) (recorded live at Bayreuth and with the same Viennese forces as Solti respectively) feature casts that are supreme and superior to the above mentioned. Jess Thomas is a superb Lohengrin on Philips and good on EMI, Sawallisch dishes up Anja Silja as Elsa and Astrid Varnay as the best Ortrud on record. Ramon Vinay is not lacking as F.v.Telramund. The Bayreuth atmosphere is crackling - and only the coughing and not up to date sound quality may drive listeners to more modern recordings - the Solti and even the Barenboim which become pale bordering insignificant next to either Kempe or Sawallisch.