Notice bibliographique
Résumé
Wagner: Tristan und Isolde--Act II (Uncut). Kirsten Flagstad (Isolde), Eyvind Laholm (Tristan), Enid Szantho (Brangane), John Gurney (Konig Marke), Daniel Harris (Kurvenal and Melot); Philharmonic-Symphony Orchestra of New York conducted by John Barbirolli. Concert Performance, Carnegie Hall, New York, 16 April 1939. West Hill Radio Archives WHRA-6044 (1 CD). Wagner: Tristan und Isolde-Act II (Uncut). Same performers and date. Archipel ARPCD 0485 (1 CD). Under consideration here are two editions of the very same performance. Although a concert version of Act II of Wagner's Tristan und Isolde given in New York City during the Metropolitan Opera's golden age of Wagner performance would seem superfluous, this one is unique. It was the third and last of three performances--the last two were both broadcast by WABC, and these were the first uncut broadcasts of this act given in the United States. Kirsten Flagstad's Isolde is documented in multiple live performance recordings, from the Met and Covent Garden, but all are cut to varying degrees, as was standard practice during this period. In 1952 Flagstad made a justly famous, and absolutely complete, studio recording of Tristan for His Master's Voice with Wilhelm Furtwangler, and although her voice was still in remarkable condition, she had certainly lost some of the freshness that characterized her singing before World War II. That said, Flagstad is not at her absolute best in this 1939 concert. High C was never her favorite note, but other Tristan performances from this period show that she was perfectly capable of singing it. Here, she barely touches the first and substitutes an A-natural for the second near the beginning of Scene 2, though she delivers an impressive B-natural near the end of the duet on endlos ewig. High Cs aside, on this occasion Flagstad simply lacked the vocal security that made her unrivalled in this role during this period, but this is the only opportunity to hear her sing all of Isolde's music in Act II during her prime years. The remainder of the is of the caliber one might expect on an off-night at the Met, when a house cast filled in for the international superstars. Eyvind Laholm was born in Eau Clair, Wisconsin of Swedish parents in 1894. His name was originally Jon Edwin Johnson, but to avoid confusion with Edward Johnson, the Canadian tenor who in 1935 became the Met's general manager, he changed his name. To state that Laholm, or any other Tristan, for that matter, was no Melchior would be silly, but by the standards of the 1930s and 1940s he was also inferior to Walter Widdop, Thorsten Ralf, Set Svanholm and Ludwig Suthaus. His passaggio was never properly developed, and as the strains of the uncut act begin to wear on him, he often sounds on the verge of cracking between D-natural and G-natural. Laholm's Tristan simply does not invite repeated hearings. That he does not sound underbalanced next to Flagstad is thanks to her consummate professionalism--she clearly knew his limitations and avoided overpowering him. One even wonders if having to sing with an inferior partner is all or part of the reason she is a notch or two below her usual vocal standard. Hungarian contralto Enid Szantho sang major Wagner roles at Bayreuth between 1930 and 1937, was on the roster at the Vienna State Opera between 1929 and 1939, and also appeared at Covent Garden and the Met. Her Brangane is perfectly competent without being particularly distinguished, and her vocal production is sometimes tremulous, lacking a clearly-defined center to the pitch. John Gurney, who sang the Steersman twenty-four times at the Met, is monochromatic as Konig Marke. John Barbirolli, in my view, is one of the twentieth century's great conductors, and I have long felt that he has never received due credit for his tenure as principal conductor of the Philharmonic-Symphony Orchestra of New York. Barbirolli was in an unenviable position when he assumed the post of Music Director of the orchestra, replacing Arturo Toscanini. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,007 | 0,000 |
| Communication savante | 0,001 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,018 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».