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RECORDINGS
Historical
WAGNER: OPERA SCENES
 With Herrmann, Nissen; Staatskapelle and Staatsoper Chorus Dresden, Böhm. Notes only. Profil Hänssler PH07058
This compilation of historic Wagner recordings featuring the Staatskapelle Dresden and legendary conductor Karl Böhm is a welcome addition to the catalogue. Containing ten selections recorded between 1938 and 1940, the disc includes some of Wagner's most familiar and stirring music in cleanly recorded, unedited studio performances. The monaural sound is excellent for its vintage, with little hiss and plenty of presence. Of course, in a side-by-side comparison with later stereo versions of these works, it becomes quite clear that the lush orchestrations and wide tonal range have suffered from the limited recording technology. But no matter: the performances preserved here merit a listen.
Half of the included excerpts, such as the overtures to Tannhäuser and Der Fliegende Holländer and preludes to various acts of Lohengrin and Die Meistersinger von Nürnberg, feature orchestra only. Böhm's interpretations are dramatically convincing, and his pacing creates a natural flow between the constantly changing moods and textures of the music. The climaxes reach their ecstatic heights without excessive broadening, and the poetry of the more tranquil moments is equally well captured. The orchestra plays superbly, with nuanced expression and fine ensemble. Four additional tracks feature the Dresden Staatsoper chorus, which sings with accuracy and full-bodied enthusiasm, not withstanding some occasional thinness in the soprano and tenor sections.
Only two tracks feature solo singers, and both are excerpts from the role of Hans Sachs in Die Meistersinger. The standout is bass-baritone Hans Hermann Nissen (1893–1980), who is ideal in Sachs's final "aria." A star at the Bayerische Staatsoper and a regular guest at Bayreuth, Nissen has a voice that is resonant, powerful and rich but also exceptionally attractive and easily produced. The other soloist, Josef Herrmann (1903–55), a principal baritone at Dresden's Semperoper, gives an adequate but forgettable performance of Sachs's Act II monologue. Unfortunately, he does not approach Nissen in vocal glamour or pitch accuracy, and his higher notes seem unreliable. Böhm's sluggish tempo does not help matters; in fact, it adds further weight to Herrmann's rather lugubrious vocal style.
The accompanying booklet is loaded with photos, and the included essay is printed in both German and English. Unfortunately, the essay itself is lackluster and does not delve into this disturbing yet fascinating historical period as it should. No more than a passing reference is made to the Nazi party, although the taint of that era stayed with Böhm for most of his life. Although the conductor was never a party member, evidence strongly suggests that Böhm — at least during his early career — was a Nazi sympathizer. While part of the impetus for these recordings was undoubtedly political — Wagner's music, Die Meistersinger in particular, was notoriously exploited as propaganda by Hitler — this fact goes completely unmentioned. These issues add valuable historical context to the recorded performances and deserve to be thoroughly discussed, not inexplicably ignored.
DEREK GRETEN-HARRISON
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