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| Tristan und Isolde |
| Dramatic Tenor role. A Cornish knight, King Mark's nephew - he loves Isolde. |
| Year |
| Artist |
| 1927 |
| Rudolf Laubentha |
| 1933 |
| Paul Althouse |
| 1936 |
| Lauritz Melchior |
| 1937 |
| Lauritz Melchior |
| 1939 |
| 1945 |
| 1947 |
| 1949 |
| 1950 |
| 1953 |
| Ludwig Suthaus |
| 1967 |
| Jess Thomas |
| 1970 |
| Wolfgang Windgassen |
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| Tristan |
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| San Francisco Opera Tristan History |
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| Lauritz Melchior |
| Lauritz Melchior |
| 1974 |
| 1980 |
| Spas Wenkoff |
| 1991 |
| William Johns |
| 1998-1999 |
| Wolfgang Schmidt |
| Jess Thomas |
| 1927 * Rudolf Laubenthal, gotten up as an unusually ascetic-looking knight, offered his relatively youthful-sounding, but slightly strangulated Tristan. |
| * Bloomfield-50 Years of SFO/ 1922-1978 San Francisco Opera. |
| 1933 * Paul Althouse was the Tristan, and his virile tenor, not unlike Jon Vickers’ in timbre, was highly praised. |
| 1967 * Thomas’ Tristan was fresh and youthful in look and sound, with optimum use of a suavely arching and compassionate head tone, and an excusable minimum of unsteadily sustained sound. Despite the vigor and point of Melchior’s portrayal a generation earlier, Thomas emerged as the more romantically appealing figure. A major pity that about fifteen minutes of his third act was cut. |
| 1970 * Tristan was sung by Windgassen who, by 1965, had sung the role 179 times and passed the world’s record. |
| 1974 * Jes Thomas’ Tristan was phrased with a marvelous grace that made up for vocal wear; and his “Pieta” like death, clothed only in a bikini, smacked of personal exhibitionism. |
| 'O Konig, das kann ich dir nicht sagen' |
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| Aria Data Base for Tristan |
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| To play above on a piano and hear it in play back - open Classical Music Search in a new page. Play notes on piano and press the play button when finished. Using the search button will bring up any symphonic music that has the same notes. |
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| 2006 |
| Thomas Moser |
| 2006 * Thomas Moser Most of Moser's performance sounded like a high baritone, as the top notes involved some squeezing. But it was reliable — musical light years away from his unfortunate Florestan here last time, and more reminiscent of his previous, appealing appearances in Peter Grimes and Ariadne auf Naxos./ Review |
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