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Mendelssohn, Wagner, Schumann

Violeta Urmana (mezzo-soprano), Elisabeth Kulman (mezzo-soprano), Kaya Last (soprano), Martina Steffl (alto), Luise Gündel (alto), Hiroyuki Ijichi (bass), Chamber Orchestra of Europe, Arnold Schoenberg Chor, Nikolaus Harnoncourt

Mendelssohn, Wagner, Schumann
Harnoncourt takes a Wagner-lite approach [to the Tannhäuser Overture], with gossamer textures rooted in Mendelssohn’s A Midsummer Night’s Dream Overture, a comparison that the antisemitic Wagner...

Mendelssohn, Wagner, Schumann

Violeta Urmana (mezzo-soprano), Elisabeth Kulman (mezzo-soprano), Kaya Last (soprano), Martina Steffl (alto), Luise Gündel (alto), Hiroyuki Ijichi (bass), Chamber Orchestra of Europe, Arnold Schoenberg Chor, Nikolaus Harnoncourt

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This release includes a digital booklet

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Harnoncourt takes a Wagner-lite approach [to the Tannhäuser Overture], with gossamer textures rooted in Mendelssohn’s A Midsummer Night’s Dream Overture, a comparison that the antisemitic Wagner...

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27th February 2026

Harnoncourt takes a Wagner-lite approach [to the Tannhäuser Overture], with gossamer textures rooted in Mendelssohn’s A Midsummer Night’s Dream Overture, a comparison that the antisemitic Wagner would surely have loathed. Purists might balk, but it’s one of the silkiest and most detailed of readings, for those curious about the actual notes on the page, it’s illuminating.
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