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Both the 1951 \u003ci\u003eParsifal\u003c\/i\u003e and \u003ci\u003eLohengrin\u003c\/i\u003e from two years later, under Joseph Keilberth, were captured in ‘ffrr’ mono by the legendary Decca team of engineers under the supervision of John Culshaw. Decca continued to work at Bayreuth until 1955, capturing \u003ci\u003eDer fliegende Holländer\u003c\/i\u003e, also under Keilberth, in a superb example of Decca’s early stereo sound.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe casts were often youthful, but coached by the Festival co-director Wieland Wagner into an intense engagement with text and music. 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The set includes a previously unpublished radio interview with Irene Dalis and George London, the Kundry and Amfortas in that performance.\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eLike Knappertsbusch’s \u003ci\u003eParsifal\u003c\/i\u003e, the \u003ci\u003eTristan und Isolde\u003c\/i\u003e under Böhm in 1966 was rapidly recognised as a classic of the gramophone and has hardly been out of print since then, but it is reissued here with the rehearsal sequence included on the final LP of the original set. This ‘Original Covers’ box also includes a booklet essay by Peter Quantrill which explores the history of post-war Bayreuth and the circumstances of each recording.\u003c\/span\u003e\u003c\/p\u003e","brand":"UMA","offers":[{"title":"Default Title","offer_id":42141988585566,"sku":"4847580","price":200.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0586\/9836\/7070\/files\/Product-Images-compressed-1024x1024.jpg?v=1761735599"},{"product_id":"knappertsbusch-the-orchestral-edition","title":"Knappertsbusch: The Orchestral Edition","description":"\u003cp\u003e\u003cstrong\u003eGathered together for the first time on Universal Music labels, including several first CD releases on Decca, is the orchestral legacy of an inimitable genius of the podium: Hans Knappertsbusch.\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEven in his own lifetime, Hans Knappertsbusch divided opinion, between listeners affronted by technical slips caused by his notorious aversion to rehearsal and those who saw in him the last representative of a performing tradition dating back to Richard Wagner. Working mostly in the opera houses of Munich and Vienna, he never became music director of a symphony orchestra, but his postwar Decca recordings of central repertoire from Beethoven to Strauss, including three distinguished concerto collaborations with Clifford Curzon, preserve interpretations of a flexibility, sweep and grandeur scarcely imaginable today.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFor Decca, Knappertsbusch recorded with the great orchestras of London, Paris, Zurich, Geneva and Vienna. The orchestral discography began with Brahms’s Second Symphony with the Suisse Romande, Wagnerian ‘bleeding chunks’ in the Kingsway Hall in December 1947 and ended in February 1960 in the Sofiensaal of Vienna, conducting Tchaikovsky’s \u003c\/span\u003e\u003cem\u003eNutcracker Suite\u003c\/em\u003e\u003cspan\u003e with a delicacy and grace that will surprise listeners who think of him only as the high priest of \u003c\/span\u003e\u003cem\u003eParsifal\u003c\/em\u003e\u003cspan\u003e at Bayreuth. The box is full of such surprises: an album of Strauss waltzes and polkas that turns on a sixpence; nimble Bruckner scherzos; one of the swiftest versions of \u003c\/span\u003e\u003cem\u003eTod und Verkl\u003c\/em\u003e\u003cem\u003eärung\u003c\/em\u003e\u003cspan\u003e on record.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eOnce introduced to Clifford Curzon, Knappertsbusch was immediately enthusiastic about performing and recording with ‘this great English gentleman’; their versions of Beethoven’s Fourth and Fifth and Brahms’s Second have long been mainstays of the Decca catalogue. Much else here is newly remastered and now widely available on Decca for the first time in many years, such as Wagnerian overtures and preludes with the Zurich Tonhalle (1947) and the London Philharmonic (1948) orchestras.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBruckner’s Symphonies Nos. 3-5 (1954-6) preserve Knappertsbusch’s profound working relationship with the VPO at its most harmonious. A magnificently trenchant Brahms album with the VPO in 1957 also features Lucretia West in the \u003c\/span\u003e\u003cem\u003eAlto Rhapsody\u003c\/em\u003e\u003cspan\u003e. 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