MusicWeb International One of the most grown-up review sites around 2024
60,000 reviews
... and still writing ...

Search MusicWeb Here Acte Prealable Polish CDs
 

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

TROUBADISC
Troubadisc Weinberg- TROCD01450

All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Songs to Harp from
the Old and New World


all Nimbus reviews



all tudor reviews


Follow us on Twitter


Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

REVIEW
Plain text for smartphones & printers


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews



all Bridge reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Subscribe to our free weekly review listing

 

Support us financially by purchasing this disc from
Richard WAGNER (1813-1883)
Tannhäuser: Overture and Bacchanale (Paris version) [23:01]; Dich, teure halle [5:18]
Tristan und Isolde: Prelude [11:32]; Liebestod [7:43]
Götterdämmerung: Siegfried’s Funeral March [8:01]; Immolation Scene [21:57]
# Full Performers: Heidi Melton (soprano)
Orchestra National Bordeaux Aquitaine/Paul Daniel
rec. live, L’Auditorium de Bordeaux, no date specified
ACTES SUD ASM22 [77:32]

It’s rare for me to begin a review by talking about the packaging, but in this case it’s instructive to do so. You get an attractive hardback book with the CD in a sleeve at the back. The book contains some very attractive photographs of the orchestra members, conductor and soloist, together with a full list of who is in the orchestra. However, the text is only in French: again, instructive. From my broken schoolboy French, I think I picked out that the CD was recorded to celebrate the opening of a new auditorium in Bordeaux, and that the orchestra are attempting to set down one-disc summaries of various composers’ works, with Wagner being the first instalment. Finer linguists than I, please feel free to correct me.

All of which suggests to me that the primary audience for this release will be Aquitainians who support this orchestra or who attended the concerts themselves. It enters a highly competitive field of Wagner extracts, in which it can’t really be competitive. I like Paul Daniel’s work, and he shows a good ability to build a long paragraph in the opening of the Tannhäuser overture and Siegfried’s funeral march, but the Tristan prelude plods, and the Bacchanale is a little too well behaved. Likewise, Heidi Melton sounds perfectly fine, but is a little squally at the top in places, especially as Brünnhilde and Isolde. There is nothing so grievous as to rule this disc entirely out of court, but so many other fine sopranos have set down excerpts — Jessye Norman with Karajan or Birgit Nilsson with Downes, to name but two examples — that there is really no need to settle for anything less than total excellence.

The orchestra play perfectly well, but their quality isn’t nearly as good as, say, the Philharmonia for Klemperer on EMI, or the Berliners for Karajan (on several discs on both EMI and DG), not to mention the Vienna Philharmonic for Solti. When you look at those competitors this disc really doesn’t cut the mustard. It’s for convinced fans of this orchestra only; not really for the wider audience.

Simon Thompson