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Richard WAGNER (1813–1883)
Wesendonck-Lieder; arr: Felix Mottl (tenor version):
1. No. 1 Der Engel [3:36]
2. No. 2 Stehe still [4:54]
3. No. 3 Im Treibhaus [7:37]
4. No. 4 Schmerzen [2:53]
5. No. 5 Träume [5:39]
Tristan und Isolde:
6. Dünkt dich das? (a. 3) [8:47] Richard STRAUSS (1864–1949)
7. Verführung, Op. 33 No. 1 [8:39] Richard WAGNER Die Walküre (a. 1 sc. 3): 8. Ein Schwert verhiess mir der Vater [8:09] 9. Der Männer Sippe [6:07] 10. Winterstürme wichen dem Wonnemond [3:35] Richard STRAUSS
Vier letzte Lieder:
11. No. 4 Im Abendrot [8:24]
René Kollo
(tenor)
Ingrid Haubold (soprano) (tr. 8, 9)
Orchester der Deutschen Oper Berlin/Christian Thielemann
rec. Christuskirche, Berlin-Oberschöneweide, 30 August–6
September 1992 EMI CLASSICS
54776 [69:13]
Any account of René Kollo’s rise to fame reads like a modern
Cinderella story. Born in 1937 he started as a pop singer, signing
his
first recording contract in 1959. Probably his biggest hit
in Germany was Hello, Mary Lou. In the mid-sixties
he gradually moved over to opera, singing lyrical roles on
provincial stages. He made his debut at Bayreuth in 1969
in a minor role. Karajan heard him and engaged him for his
forthcoming Dresden recording of Die Meistersinger in
1970. “You are the Stolzing I have been awaiting for forty
years”, he said. The recording was a success and here all
of a sudden we had an heroic tenor hailed as a saviour, when
Heldentenöre were thin on the ground. He tried to ration
his Wagner singing, sticking to both Mozart and operetta,
but the demand was such that he was gradually drawn into
the Wagner circus. Those heavy roles took their toll. When
Solti recorded his first Meistersinger in 1975 Kollo
was again Stolzing and one can clearly hear what had happened
to his voice during the passing five years. His reading of
the role was impressive for Karajan and by 1975 it had deepened
further but the beauty and freedom of the voice had become
compressed, there was more obvious strain and the tone had
hardened. He continued to be the most sought-after singer
in his Fach for decades and what he had lost in vocal quality
was for many years compensated by his intelligence and his
deep understanding of his characters. In the early 1990s
there were frequent signs of tear and wear and he developed
an ugly wobble. His Tannhäuser recording under Janowski
from this period was largely unenjoyable, while seeing him
perform the role added a dimension that made it possible
to disregard some of the defects. When this disc arrived
I thought I knew what to expect and the first song from Wesendonck-Lieder largely
confirmed my suspicions.
The voice is frail and worn and the wobble on sustained notes is heavy
and ugly. His warm pianissimo singing is intact, however,
and a thing to admire and in Stehe still he sings
with a concentrated inwardness that is very true to the text – unfortunately
not printed in the booklet. At forte the tone is hard but
he manages to tame the wobble successfully and while I still
wish he had recorded these songs much earlier it’s no use
weeping over a missed opportunity. Better then to appreciate
his deep insights and his way of communicating them. In many
respects this is one of the most moving readings of these
songs and few sopranos have delved deeper than René Kollo.
My favourite version is still Régine Crespin on EMI from
around 1963 – ravishingly beautiful but in the last resort
shallower. Schmerzen is the song requiring most heft
and here Kollo has to struggle but the wobble is held in
check. Träume is sung more or less as a long whisper
and, perhaps against all odds, this is a surprisingly successful
reading. Moreover I believe that it is the only available
recording of the tenor version. Melchior recorded Schmerzen and Träume in
the 1940s but never the full cycle. It was clever programming
to let the songs with their Tristan associations be
followed by the ‘real’ Tristan’s third act monologue. Kollo
starts at a soft pianissimo, only gradually working up to
ecstasy. His tone is not consistently attractive but the
intensity and the intelligence of the reading is never in
question. He had been singing the role since 1980 and also
recorded it under Carlos Kleiber for DG about a decade before
this revisit.
The long Mackay song Verführung by Richard Strauss, was also
written with the soprano voice in mind but here the strain
is too palpable and the hardness of tone becomes unattractive.
Insight and intensity are again guiding-stars in the scene
from the first act of Die Walküre. He has the required
heft for the cries of Wölse but he squeezes the tone.
Against this is the sheer beauty of his phrasing in the lyrical
moments. Ingrid Haubold’s Sieglinde is also full of insight
and apart from a certain squalliness hers is an honourable
reading of Der Männer Sippe. Winterstürme is not only
a Spring song but also a metaphor for the love that awakens
between the twins; Kollo’s inward and lyrical reading is
highly motivated.
Im Abendrot from Vier letzte Lieder is
probably the only recording by a male singer. Kollo phrases
sensitively, carefully, almost hesitantly and adopts a comparably
slow tempo, but it works and he is helped by Thielemann’s
thoughtful reading of the Autumnal postlude. This must, by
the way, be one of the conductor’s earliest recordings.
While not everything is perfect on this disc there is still so much
insight and intelligence involved here that it would be a
pity to overlook this issue. I have listened with new ears
to several of the songs and excerpts here.