To quote a quite different opera, “it is a curious story”. In 1967 a production of Wagner’s Die Walküre, heavily influenced by Herbert von Karajan  who conducted the Berlin Philharmonic for the performances, opened the very first Osterfestspiele Salzburg. 50 years later it was “remounted” with Vera and Sonja Nemirova directing. I use inverted commas because it’s actually not entirely clear how much was old and how much new. It might be more accurate to describe it as a homage to the earlier version. In any event, it was recorded, in 4K Ultra HD, no less and released as one of the very first opera discs in that format.
Eugen d’Albert is largely forgotten as a composer but his seventh (of twenty) opera, Tiefland, is still performed occasionally in German speaking countries. It’s an odd work. The plot is melodramatic with a cloying degree of sentimentality; sort of Mascagni meets Gounod, while the music is like pastoral Wagner (think the way the woodwinds are used in Tristan) with touches of Carmen and, just occasionally, hints of Sullivan (one of d’Albert’s teachers). For a 1903 work it feels curiously retro.
Nikolaus Harnoncourt has long been one of my favourite conductors, particularly for pieces that require a strong sense of period. The same goes for the wonderful Zürich Opera House Orchestra who, uniquely as far as I know, can change up their instruments to suit the piece. For Weber’s Der Freischütz, recorded in 1999, they use valveless brass but, as best I can tell, modern woodwinds and it all sounds great especially in the many hunting scenes.
Wagner’s Tannhäuser is the earliest of the canonical works. In some ways it’s very Wagnerian. It has screwed up theology with a heavy dose of misogyny and some recognisably Wagnerian music. On the other hand it is structured more like a French grand opera and some of the music definitely has more than a hint of Meyerbeer to it.The basic plot is that of the hero seduced into sin by the pagan love goddess Venus and then redeemed by the love (and death) of the chaste virgin Elisabeth.