This issue passed me by when it was first released in 2010, but what a treasure it is. Always a pleasure to hear Wunderlich’s glorious tenor, here we have the added frisson of hearing him live in the opera house.
His Tamino is well known from the Böhm recording. These excerpts are taken from a 1964 Munich performance, where he is joined by Anneliese Rothenberger as Pamina and Karl-Christian Kohn as Sarastro under the baton of Fritz Reiger. As on the Böhm recording, he is an ardently lyrical but also heroic Tamino and remains my touchstone for the role. Don Ottavio’s two arias from a performance of Don Giovanni, conducted by Karajan in 1963 are also superb and Ottavio emerges as a more positive character than he often does, benefiting from Wunderlich’s golden tone, his superb breath control and ease of movement. As in the Jochum recording he is also an ideal Belmonte in Die Entführung aus dem Serail.
The excerpts from Il Barbiere di Siviglia, with Hermann Prey as Figaro, are unfortunately sung in German, but the language does not impede Wunderlich’s superb legato, nor the warmth of his tone, and we get to hear his wonderfully light touch in comedy.
For me, though, the Strauss items are the biggest eye opener. I feel sure that, had Strauss heard them, it would have reconciled him to the sound of the tenor voice. The duet for the Italian Singers in Capriccio (with Lucia Popp, no less) has probably never sounded more gloriously, well, italianate, so beautiful that it elicits a spontaneous round of applause from the Vienna audience. The same could be said for his singing of Di rigori armato from Der Rosenkavalier, which is sung with burnished tone. I doubt any Italian tenor could sing it better. So too, in the excerpts from Daphne and Die schweigsame Frau his liquid legato stays in tact, however tough the going. Did Wunderlich ever make an ugly sound? Somehow I doubt it. Truly he was a prince among tenors.