Die Meistersinger von Nürnberg
Hans Sachs Hans Hermann Nissen
Eva Maria Reining
Pogner Herbert Alsen
Jago Herbert Alsen
Beckmesser Hermann Wiedemann
Stolzing Henk Noor
David Richard Sallaba
Magdalena Kerstin Thorborg
Walther Charles Kullmann
Kothner Viktor Madin
Vogelgesang Georg Maikl
Nachtigall Rolf Telasko
Zorn Anton Dermota
Eisslinger Eduard Fritsch
Moser Hermann Gallos
Ortel Alfred Muzzarelli
Schwarz Carl Bissuti
Foltz Karl Ettl
Wiener Staatsoper Choir
Wiener Philharmoniker
ARTURO TOSCANINI
Salzburg, Festspielhaus
August 5, 1937
(Sometimes misdated August 23 or August 8; but the opera was performed on August 5, 12 & 20).
As you know, this is not a opera-oriented blog (with few exceptions).
However, this vol. 33 is a must, because it concludes a long sequence of Toscanini rarities.
In particular, all the BBC-NYPO-WP live material in my possession.
This volume is too big, so I split the archive into two files.
Considering that we're talking about
the only AT complete recording of a Wagnerian opera, it could not be missing.
Toscanini conducting is not as heavy as the download.
It is difficult for me to think about a more fresh, better, alive, fun rendition of the second act.
I don't have the Andante box (I'm pretty sure it's an excellent restoration),
but I've listened to several attempts to "improve" a recording that cannot be ideal.
So I prefer to present this source, more "honest" and less "interventionist".
All in all, perfectly listenable
(some things included in other volumes are certainly in worse condition).
Flac
8 comments:
https://mega.nz/#!WaIXTAjK!QqhhWEZvqz93lO9FDNeeCBjLj4ptI1kib22TjEEzcug
and
https://mega.nz/#!HeQxxIQB!767NesPG0KP5Lw2TA-NEEkDVJ0vJjHjNkg-IrZr8b0Q
Thank you for posting this performance, which must have been a labour of love. I have the Immortal Performances transfer, which is very good. Your use of the term 'honest' is quite apt: both for your transfer and for the performance.
My take is that Toscanini was not 'over-awed' by this music and approached it in the same way as he would have done for Falstaff- think about the characters and drama, but maintain the musical pulse. As in his performances of Falstaff, he demonstrated a light touch when needed. My personal test for a performance of Die Meistersinger is whether it feels like a 4 plus hour slog or do I feel fresh at the end. This one most definitely belongs at the 'fresh end'.
Best,
Louis
Thanks a lot, Louis.
Your comment is a confirmation of some thoughts I had too:)
However, we must not forget that Toscanini declared his total love for two scores on all:
Eroica & Meistersiger.
An "aesthetic statement" that should not be underestimated.
Thanks, Guido.
I didn't realise, but am not surprised to learn, that the Eroica and Meistersinger were the most special to him. From the recorded evidence, I would guess that the Missa Solemnis and Falstaff were also pretty important to him. Although it is on a very different level, the Scherzo from a Midsummer Night's Dream elicited a truly wonderful, so light on its feet, recording from Toscanini and the New York Philharmonic.
Best,
Louis
I am assuming from your comments in the original post that this is the same basic analogue transfer that was available on LP in the fifties, and later appeared on Euro "graymarket" CDs. If so, yes indeed: as you said, it is rather futile for subsequent amateurs and issues to create "several attempts to 'improve' a recording that cannot be ideal." The original recording was made on a Selenophone machine, which engraved a groove on a sort of primitive tape. I believe that sometime around 1949-50, a transfer of the original masters was done, but unfortunately the surviving machine had all kinds of mechanical issues that introduced even more wow, flutter, and more long-term pitch problems; the embossed grooves were now VERY noisy and deteriorated; and any analogue processed -- at the time -- could only further harm and muddy, not help, the lack of overtones and clarity. Obviously the mike employed was not a very good wideband device and the end recording was substandard, even compared to the Marcia Davenport-commissioned aircheck acetates of the PSNY under Toscanini in the thirties.
However, the Andante transfer was a NEW one. A Selenophone was rebuilt by a skilled CBS television engineer, and a transfer to digital was made by Seth Winner, with state of the art MODERN corrections. I too lack the Andante issue but critics have said it is more-or-less a 'revelation'! When I had an analogue tape copy of an old LP issue of this original live presentation (probably, as memory serves, from Melodram) I basically found it UNLISTENABLE and unendurable. You can't "fix" that!
8H Haggis
Eminently enjoyable!!!
Thanks so much!!!
Happy 2020 to you, too!!!
I would really appreciate it if you could reupload it.
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