---
product_id: 15877674
title: "Electrola Series-Wagner: Tannhauser"
brand: "emi classics"
price: "KD 12.81"
currency: KWD
in_stock: true
reviews_count: 18
category: "Music"
url: https://www.desertcart.com.kw/products/15877674-electrola-series-wagner-tannhauser
store_origin: KW
region: Kuwait
---

# Electrola Series-Wagner: Tannhauser

**Brand:** emi classics
**Price:** KD 12.81
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Electrola Series-Wagner: Tannhauser by emi classics
- **How much does it cost?** KD 12.81 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.com.kw](https://www.desertcart.com.kw/products/15877674-electrola-series-wagner-tannhauser)

## Best For

- emi classics enthusiasts

## Why This Product

- Trusted emi classics brand quality
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## Description

Electrola Series-Wagner: Tannhauser

## Images

![Electrola Series-Wagner: Tannhauser - Image 1](https://m.media-amazon.com/images/I/41fgLtsVkJL.jpg)
![Electrola Series-Wagner: Tannhauser - Image 2](https://m.media-amazon.com/images/I/51wGrueGROL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 







  
  
    A Definitive Dresden Tannhauser
  

*by S***D on Reviewed in the United States on March 1, 2017*

I completely agree with the previous reviewer as to the excellence of this recording. It's a understated work of magnificence.  I have listed to about 7 versions, both Paris and Dresden, all of which are quite satisfactory. This Dresden presentation is treated with reverence as it deserves. Slower in tempo than some, that is part of its beauty. The flavor of the voices and music are joined in a marriage of sumptuous sound. The sound quality and separation are top notch and the engineers are to be commended. The artists are in top form and the Berlin State Opera and chorus stand up against the best. Tannhauser was revised often as Wagner was never totally satisfied with it but I  think he would smile down on this edition fondly as I do.

### ⭐⭐⭐⭐⭐ 







  
  
    Five Stars
  

*by D***D on Reviewed in the United States on June 19, 2018*

The gold standard of Tannhauser Recordings.

### ⭐⭐⭐⭐⭐ 







  
  
    A first recommendation for the Dresden version
  

*by R***E on Reviewed in the United States on June 22, 2015*

I have avoided this venerable recording for years but was encouraged to sample it by the bargain price and recent re-mastering of this re-issue from Warner and I must say that it has a lot going for it.Studio recordings of "Tannhäuser" are thin on the ground; there have been only half a dozen post-war recordings of the original Dresden version and a mere two of the so-called Paris 1861 edition - actually published in Vienna in 1875. Matters are further complicated by the fact that most Dresden versions actually incorporate snippets from Act II of the Paris and often the Bacchanal music, too; in this case Konwitschny includes only the former. Others make stranger choices; Barenboim in the most recent set uses the Dresden version but imports the longer duet for Tannhäuser and Venus into Act I and expunges the ballet music. Of the two Paris versions, the 1970 Solti recording endures as most collectors' favourite by virtue of a superior cast and the fact that Domingo rather mangles the German for Sinopoli in 1988.However, one reason for preferring a more or less faithful recording of the 1847 version of the  Dresden score - Wagner made changes after the 1845 première - is that it is more stylistically coherent than the Paris version, into which Wagner grafted the new harmonic and chromatic musical language he had been developing in the sixteen year interim with the result that there is considerable, audible disparity between the two styles. This was a fact that Wagner recognised shortly before his death when he expressed regret that he had not produced a new and definitive revision of "Tannhäuser". So if you want his first thoughts this 1960 Konwitschny recording is where to go, even if you will inevitably find yourself missing the best Venusberg music. Compensation comes from the restoration of the aria for Walter, here sung with typical heady beauty by Fritz Wunderlich and correspondingly rather less of Marianne Schech, who lacks the smoky allure and voluptuousness ideally required to depict the Goddess of Love, qualities which artists such as Bumbry and Ludwig certainly brought to the role. Her Venus is sometimes rather shrill and prosaic, but I don't want to overdue that criticism; it's just that the voice sits tonally rather high. She made a good Senta for the same conductor in that same year; in fact four of the artists here starred in that excellent "Der Fliegende Holländer". Schech had a decidedly full recording contract in 1960 as she also found time to give conductor Böhm a credible, nervy Chrysothemis in his "Elektra" - also a great recording.The other controversial piece of casting is Hans Hopf as our eponymous (anti-?) hero. He has a sturdy, baritonal tenor with little intrinsic beauty and which occasionally turns throaty; he can be clumsy and wooden in his phrasing, sometimes yells and "lifts" into top notes, and he lacks good legato - all of which sounds damning, but in fact he has the stamina and the notes and is adequate without ever sounding elegant. It is also only fair to observe that he has his worst moments in the opening duet, which can be off-putting, and his best right at the end of the work in his Rome Narrative, He is first steady and melancholy, then impassioned and intense when he comes to the Pope's pronouncement that he is irredeemably damned.Otherwise, the cast is unimpeachable: I note that other reviewers like me who are not necessarily generally fans of Fischer-Dieskau give him credit for the sensitivity of his portrayal of Wolfram. His youthful baritone might not have the heft or bite ideal in a Wagner voice of the Terfel-George London type but he is most mellifluous and largely free of both the dryness of tone and mannerisms which accrued through his career, caressing "O du, mein holden Abendstern" very winningly and intelligently. Gottlob Frick makes a grave, sonorous Landgrave, while the wonderful Elisabeth Grümmer rivals Janowitz in purity of tone as Elisabeth and gives a performance to match her Elsa for Kempe in the "Lohengrin" studio recording a couple of years later.Konwitschny takes a fairly stately, conventional view of the score and lacks Solti's drive and dynamism but the Berlin Staatsoper orchestra plays beautifully, just as the chorus emerge as stars in themselves, their singing is so nuanced.The sound has come up really well, enhancing what was already a good recording for its time: as in the Solti recording from Decca ten years later, there are some lovely spatial effects such as the bells in Act I, the approach of the pilgrims in Act III and the distant Venusberg music at the end.I no longer expect a physical libretto these days of cheap re-packaging and electronic versions but why this "Cologne Collection" omits to provide even a plot synopsis baffles me. Still, this remains the best recommendation unless you favour a live recording from such as Sawallisch, Karajan or Kempe, although then you'd need to compromise on sound quality.

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*Product available on Desertcart Kuwait*
*Store origin: KW*
*Last updated: 2026-03-03*