This is what we've been waiting for a long time, Domingo singing Tristan !

Well, first let's list the programme:

Siegfried - Act III - Scene 3

The conducting was marvellous, Pappano is really a find, a great conductor who understands the singers and the music. Listen to the beautiful prelude (Sehr langsam) in track 1, how by virtue of the music alone we can imagine Brunhilde on the high rock, surrounded by the fire awaiting for Siegfried.

Voigt is also excellent here, the Brunhilde in Siegfried really suits her, she can display her exquisite top notes and the voice, a first for me in terms of Voigt, sounded beautifully. Eaglen, take care ! Listen to the ravishing top notes she can muster when realizing she is not a goddess anymore. Her "ewig war ich, ewig bin ich" is what the italians would say "belissimo"/very beautiful, the voice almost floating in air.

I have to confess Domingo impressed me here. I expected he would not fare well but was I wrong ! He sings with a passion and ardour unmatched in recent times, the voice sounds pristine (unlike a 60 years old), and very strong. It's been a while since I heard Domingo sing with such power. He also blends his voice very well with Voigt. We know he cannot sing the role live, but he should record it. Also, note how he sings the role perfectly technically, all the notes given their due value, unlike the recent crop of "Wagnerian" tenors (Jerusalem excluded).

Tristan und Isolde - Act II - Scene 2

Again Pappano conducts very well. Never drowing the singers and letting the music flow naturally and in normal speed (none of the Berstein langours or Kleiber's hurry). Convent Garden is well served.

Domingo sang very well, always musical, he maybe the best technically sung Tristan, no scoops, no crooning, all the notes sang well. He also uses his baritone range to a great advantage (something that bothers me in Heppner, his voice is too high, a tenor voice with no baritone range) and effect. Listen to the beginning ("O sink hernieder") and also before Brangane's first intervention (where Domingo sings real pianissimo) and you'll see what I mean. Domingo only lacks Vickers stentorial power (Vicker is almost frightening in the passage "Lass den tode lassen") and stentorial power and interpretation of the greatest Tristan ever, Laurtiz Melchior.

Voigt is very similar to Domingo, very musical, impressive stamina and high notes. What she lacks is a true pianissimo like Nilsson and interpretation. She is a little "green" in the role, but that is understandle since it is the first time she sang it.

This scene includes a different ending to the love duet. Wagner composed it to be presented as a concert piece, but the singers could never present it, so the score was lost. Baremboin discovered it and passed it on to Pappano.

It is very interesting because it ends in the Liebstod. I really liked it and would love to hear it live.

All in all, one of my picks for best recording of 2000.