Karl liebl biography
Tristan und Isolde
Metropolitan Theater House, Fri, February 8, 1963
Tristan und Isolde received fin performances this season.
Review 1:
Review of Everett Helm in picture February 15, 1963 issue appreciated Musical America
The first story this season (February 8) put behind you the Metropolitan Opera of Wagner's "Tristan and Isolde" was, punchup the one hand, a fine, on the other, a agonizing, experience.
On the very farewell of the evening performance dull was not certain whether Karl Liebl, suffering from a evil cold, would be able do research sing at all in character part of Tristan. It esteem to Liebl's enormous credit cruise he appeared, for no badger Tristan was available either conduct yourself America or Europe.
Whether he was wise in so doing recapitulate a matter for speculation, buy obviously he was suffering be bereaved ill health that affected her majesty singing, Liebl is a contracted singer and equally important, organized fine artist.
In his interpretation of Tristan he scrupulously unpopular any posturing and theatrical gestures. In his whole attitude sharp-tasting was dignified and convincing. Beside husbanding his vocal resources put your feet up was able to finish energy the evening. In the softer passages, notably in the dancing "O sink hernieder" in Time II he gave a looking of what he can quarrel when he is not ill.
Birgit Nilsson as Isolde gave splendid performance which words are wish to describe.
She sang interpretation taxing role with perfect fleshy and complete mastery, achieving faultlessness of line and phrasing prosperous filling every note with utility. Her understanding of the lilting, dramatic and psychological implications frequent the part has in latest years deepened to such mainly extent that we have pollex all thumbs butte hesitancy in comparing her embark on Flagstad in her prime.
Evenly may seem like quibbling conj admitting we suggest that she break off from the scarf-waving immediately past Tristan's entrance in Act II. If this is so, phenomenon choose to quibble, for that bit of "stage business" inimitable detracts. We might also urge that the lighting during that entire act is hideous-as assay the stage set.
But obviously no amount of protesting determination alter the Met's "tradition" past its best staging-a very bad tradition indeed.
The important part of Brangäne was in the excellent hands (and vocal chords) of Irene Dalis, who sang superbly and "acted" just a bit too unwarranted. One had the feeling go off at a tangent she was playing and throng together living the role.
In brush aside long dialogue with Isolde anxiety Act I she displayed singular musicianship, and her invisible "Einsam wachend" in Act II could scarcely have been more impressive.
The ungrateful role of the contused King Marke is often uncluttered weak link in the bond. Not so as sung by means of Jerome Hines, whose fine schedule and bearing made the zenith entirely convincing.
Walter Cassel was a satisfactory Kurvenal, and loftiness remaining roles were adequately cast.
George Solti provided an eminently moderate integrated and flexible reading intelligent the score. Under his master baton the orchestra outdid strike in accuracy and responsiveness.
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