{"product_id":"karajan-wagner-tristan-und-isolde-bayreuth-1952-paco185","title":"KARAJAN Wagner: Tristan und Isolde (Bayreuth, 1952) - PACO185","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLive festival recording, 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 48:33\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eTristan - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRamón Vinay\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eIsolde - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMartha Mödl\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBrangaene - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIra Malaniuk\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarke - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLudwig Weber\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eKurwenal - \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHans Hotter\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBayreuth Festival Chorus and Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert von Karajan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO185.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis historic performance of Wagner’s \u003cem\u003eTristan und Isolde\u003c\/em\u003e, which\nopened the 1952 Bayreuth Festival on 23 July, was the first time that the\nmusic drama was performed at what was to become known as “Neu Bayreuth”\n(New Bayreuth) and only the fourth production in the history of the\nFestival. The first Bayreuth performance, which took place on 25 July 1886,\nwas directed by Wagner’s widow, Cosima, and conducted by Felix Mottl. There\nwere new productions in 1927, directed by the composer’s son, Siegfried,\nand conducted by Karl Elmendorff, and in 1938, directed by Heinz Tietjen\nand again conducted by Elmendorff. There were no performances during the war.\n\u003c\/p\u003e\n\u003cp\u003e\nBased on the philosophy of Arthur Schopenhauer and likely additionally\ninspired by his infatuation with Mathilde Wesendonck, who was already\nmarried, \u003cem\u003eTristan und Isolde\u003c\/em\u003e premiered on 10 June 1865 at the\nKönigliches Hoftheater und Nationaltheater in Munich with Hans von Bülow\nconducting. It was unprecedented in its use of chromaticism and tonal\nambiguity, heard from the very first notes to the very last measures of the\nwork.\n\u003c\/p\u003e\n\u003cp\u003e\n\nThe reemergence of the Festival in 1951 after a six-year hiatus was a\ntremendous achievement. Two of Wagner’s grandsons, the brothers Wieland\n(born 1917) and Wolfgang (born 1919), were now in the charge of the\nFestival. It opened with a performance of Beethoven’s \u003cem\u003eNinth Symphony\u003c\/em\u003e conducted by Wilhelm Furtwängler. Hans\nKnappertsbusch and Herbert von Karajan would conduct all the other\nperformances that summer. Six of the music dramas, all in new\nproductions, five designed and directed by Wieland himself ( \u003cem\u003eParsifal\u003c\/em\u003e and the complete \u003cem\u003eRing Cycle\u003c\/em\u003e) made up the\nseason with Rudolf Otto Hartmann directing \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e. Hartmann would be the only\nother director ever to direct at Bayreuth until after Wieland’s\nuntimely death in 1966 at the age of 49.\n\n\u003c\/p\u003e\n\u003cp\u003e\nThe following year, in addition to the previous six music dramas presented, \u003cem\u003eTristan und Isolde\u003c\/em\u003e was added to the repertory. The performance\nbegan at 17.00 as the standard modern time of starting the eight longer\nmusic dramas at 16.00 did not begin until the 1953 Festival. Once again,\nWieland designed and directed and, much like his \u003cem\u003eParsifal \u003c\/em\u003ethe\nprevious summer (less so his \u003cem\u003eRing \u003c\/em\u003ewhich still had conventional\nelements to it, though this too had begun to change as well that summer),\nhe created a production in which the stage was stripped of all but the most\nessential scenery and props and relied more on lighting to establish the\nmood and locale. Then there was the acting style which kept the singer’s\nmovements and gestures to a bare minimum so as to be able to concentrate\nsolely on the words and music.\n\u003c\/p\u003e\n\u003cp\u003e\n\nNot everyone took to the revolutionary approach of the “Neu Bayreuth”\nstyle\n\n.\nWhether the brothers intended this radical break with tradition because of\ntheir own artistic visions or for financial concerns for the newly reopened\nFestival remains a matter of debate, though it was likely a combination of\nthe two. Regardless, there is little doubt that it was an attempt to\ndistance itself from the history of the Festival during the Nazi regime.\nBut something even more important was taking place: the new productions, particularly those by Wieland, were\nbeginning to revolutionize the staging of Wagner’s music dramas, a trend\nstill very much in evidence even today.\n\u003c\/p\u003e\n\u003cp\u003e\nGerman soprano Martha \u003cem\u003eMödl (1912-2001)\u003c\/em\u003e, our Isolde,\u003cem\u003e \u003c\/em\u003ehad \u003cem\u003ecreated a sensation as Kundry \u003c\/em\u003eduring \u003cem\u003ethe \u003c\/em\u003efirst post-war\nFestival\u003cem\u003e in Wieland’s legendary production of \u003c\/em\u003e\u003cem\u003eParsifal\u003c\/em\u003e \u003cem\u003e (PACO043). Her Isolde elicited no less praise. \u003c\/em\u003e“Mödl’s Isolde was\none of the finest operatic creations I have ever witnessed…her\ninterpretation grew from within, she was Isolde.” (Harold Rosenthal, Opera\nMagazine, September 1952). She sang at Bayreuth for 10 consecutive summers,\nreturning for a single Isolde in 1962 and then spent 2 more summers singing\nFricka and Waltraute in \u003cem\u003eThe Ring\u003c\/em\u003e and the Alto Solo in \u003cem\u003eParsifal\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\nThis performance of \u003cem\u003eTristan und Isolde\u003c\/em\u003e marked Chilean tenor Ramón\nVinay’s (1911-1996) Bayreuth debut. His performance was praised for its\n“…incredible vocal size and impact, secure power, metallic sound and\ninexhaustible physical endurance.” (Dr. Helmut Schmidt-Garre, Münchner\nMerkur, July 1952). During his seven summers at the Festival, in addition\nto Tristan, he sang Parsifal, Siegmund (heard on PACO040), and Tannhäuser,\nreturning to his baritone roots during the 1962 Festival to sing Friedrich\nvon Telramund in \u003cem\u003eLohengrin\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\nAlso in his Bayreuth debut is German bass-baritone Hans Hotter (1909-2003)\nas Kurwenal. His career at Bayreuth is legendary, being the Wotan\/Wanderer\n(heard on PACO039-41) of choice for seven consecutive summers between 1952\nand 1958, though he continued to sing the roles there as late as 1966. He\nalso acted as stage director for Wieland’s production of \u003cem\u003eThe Ring\u003c\/em\u003e\n(his last new production at Bayreuth) in 1967 and 1968. He sang twelve\nroles in eight of Wagner’s music dramas.\n\u003c\/p\u003e\n\u003cp\u003e\nThough she only sang at the first four post-war Festivals, Ukrainian\nmezzo-soprano Ira Malaniuk (1919-2009), our Brangäne, figured prominently\nduring that time. She sang eight roles in six of the music dramas and as\nthe mezzo-soprano soloist in Beethoven’s \u003cem\u003eSymphony No. 9\u003c\/em\u003e both in\n1953 and 1954. Her Fricka and Waltruate from the 1953 Festival \u003cem\u003eRing Cycle\u003c\/em\u003e can be heard on PACO040 and 042, respectively.\n\u003c\/p\u003e\n\u003cp\u003e\nAustrian bass Ludwig Weber (1899-1974), with his dark, mellifluous voice,\nwas a perfect fit for the mournful König Marke and kindly Gurnemanz in \u003cem\u003eParsifal\u003c\/em\u003e (heard on PACO043) but could also summon the power to\ncreate a terrifying portrayal of Hagen in \u003cem\u003eGötterdämmerung\u003c\/em\u003e. He\nportrayed nine roles in seven of the music dramas as well as singing in\nboth the 1951 and 1954 performances of Beethoven’s \u003cem\u003eNinth Symphony\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\nGerman bass-baritone Hermann Uhde (1914-1965), a future Wotan\/Wanderer, is\nluxury casting in the small, but pivotal role of Melot, singing nine roles\nin seven of the music dramas at Bayreuth over a period of eight seasons.\nHis searing portrayal of the doomed sea captain in\u003cem\u003e Der\u003c\/em\u003e \u003cem\u003eFliegende Holländer\u003c\/em\u003e can be heard in the Bayreuth Festival\nperformance from 1955 on PACO062. He died of a heart attack onstage during\na performance of Niels Viggo Bentzon’s \u003cem\u003eFaust III \u003c\/em\u003ein Copenhagen.\n\u003c\/p\u003e\n\u003cp\u003e\nThe young Gerhard Stolze (1926-1979), who would soon become a\nworld-renowned Loge, Mime and Herod in Strauss’ \u003cem\u003eSalome\u003c\/em\u003e, sings the\nplaintive lines of The Shepherd in Act Three.\n\u003c\/p\u003e\n\u003cp\u003e\nIn his second and final season on the \u003cem\u003eGrünen Hügel, Herbert von \u003c\/em\u003e\nKarajan (1908-1989) caused some concern when he decided that he wanted to\nchange Wagner’s own established seating order in the famous hidden\norchestra pit underneath the stage. After trying various arrangements right\nup through the dress rehearsal, none of which worked, he ultimately went\nback to the standard seating in time for the premiere. Compared to his EMI\nrecording of almost 20 years later, Karajan here reveals a youthful\nexuberance missing from his studio recording and delivers an impassioned\nperformance that runs some sixteen minutes shorter than his later version.\nSo, why, after conducting six of Wagner’s mature pieces over two summers,\ndid Karajan never return to Bayreuth? Mödl, in her wonderful autobiography, \u003cem\u003eSo war mein Weg \u003c\/em\u003e(\u003cem\u003eThis Was My Way\u003c\/em\u003e), suggested that\nKarajan, already interested in directing but in a more traditional manner,\nperhaps did not feel comfortable with Wieland’s concepts and at that point\nthe Wagner brothers were likely not interested in sharing director duties\nwith him. Regardless, we are fortunate to have this document of his earlier\nthoughts on the work.\n\u003c\/p\u003e\n\u003cp\u003e\nWhile only a handful of photographs exist to document what the production\nmust have been like, Leonard Bernstein had quite coincidentally chosen Mödl\nand Vinay to sing selections from \u003cem\u003eTristan und Isolde\u003c\/em\u003e on the NBC\narts variety program, \u003cem\u003eOmnibus\u003c\/em\u003e, in the episode entitled “What Makes\nOpera Grand?” which aired on 23 March 1958. While it of course cannot\nemulate what Wieland’s production looked or felt like, his influence over\ntheir performances is, I believe, quite evident. An economy of movement and\na deep understand of the text and music are clearly the hallmarks of their\nperformances that came from having worked closely under his guidance.\n\u003c\/p\u003e\n\u003cp\u003e\n\nThough this production of \u003cem\u003eTristan und Isolde\u003c\/em\u003e lasted only two\nsummers, Harold Rosenthal wrote in the September 1952 issue of Opera\nMagazine: “Here for the first time in my experience was a \u003cem\u003eTristan und Isolde\u003c\/em\u003e in which stage, orchestra, singers,\nconductor, costumes, lighting, in fact all the elements that go to make\nup an operatic production, were merged into a unity such as Wagner\ncould only have dreamed of.” Even without the benefit of the visual\naspects of the production, listening to this sonically restored edition\nclearly bears that out.\n\n\u003c\/p\u003e\n\u003cp\u003e\nNotes by \u003cb\u003eMichael Scarola\n\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD1\u003c\/b\u003e (75:17)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003cbr\u003e1. Prelude  (17:13)\u003cbr\u003e2. \u003ci\u003eScene 2\u003c\/i\u003e - Frisch weht der Wind der Heimat zu  (4:05)\u003cbr\u003e3. Hab acht, Tristan!   (5:35)\u003cbr\u003e4. \u003ci\u003eScene 3\u003c\/i\u003e - Weh, ach wehe!  (1:49)\u003cbr\u003e5. Wie lachend sie mir Lieder singen  (6:52)\u003cbr\u003e6. O blinde Augen!  (10:34)\u003cbr\u003e7.\u003ci\u003e Scene 4\u003c\/i\u003e - Auf! Auf! Ihr Frauen!  (1:18)\u003cbr\u003e8. Herrn Tristan bringe meinen Gruss  (6:22)\u003cbr\u003e9. \u003ci\u003eScene 5\u003c\/i\u003e - Begehrt, Herrin, was Ihr wünscht  (8:59)\u003cbr\u003e10. War Morold dir so wert  (12:30)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD2\u003c\/b\u003e (79:48)\u003cbr\u003e\u003cbr\u003e1. Tristan! Isolde!  (5:22)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003cbr\u003e2. Prelude  (2:23)\u003cbr\u003e3. \u003ci\u003eScene 1\u003c\/i\u003e - Hörst du sie noch?   (11:03)\u003cbr\u003e4. \u003ci\u003eScene 2\u003c\/i\u003e - Isolde! Geliebte!  (16:46)\u003cbr\u003e5. O sink hernieder, Nacht der Liebe  (7:47)\u003cbr\u003e6. Lausch, Geliebter!  (3:58)\u003cbr\u003e7. Doch unsre Liebe  (10:00)\u003cbr\u003e8. \u003ci\u003eScene 3\u003c\/i\u003e - Rette dich, Tristan!  (1:57)\u003cbr\u003e9. Tatest du's wirklich?  (12:02)\u003cbr\u003e10. O König, das kann ich dir nicht sagen  (8:31)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD3 \u003c\/b\u003e(73:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003cbr\u003e1. Prelude  (7:53)\u003cbr\u003e2. \u003ci\u003eScene 1\u003c\/i\u003e - Kurwenal! He!  (10:07)\u003cbr\u003e3. Wo ich erwacht - weilt' ich nicht  (7:15)\u003cbr\u003e4. Noch losch das Licht nicht aus  (25:10)\u003cbr\u003e5. \u003ci\u003eScene 2\u003c\/i\u003e - O diese Sonne!  (3:10)\u003cbr\u003e6. Ha! ich bin's, ich bin's  (5:41)\u003cbr\u003e7.\u003ci\u003e Scene 3\u003c\/i\u003e - Kurwenal! Hör! Ein zweites Schiff  (7:26)\u003cbr\u003e8. Mild und leise wie er lächelt  (6:46)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eTristan -\u003cb\u003e Ramón Vinay\u003c\/b\u003e\u003cbr\u003eIsolde - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eBrangaene - \u003cb\u003eIra Malaniuk\u003c\/b\u003e\u003cbr\u003eMarke - \u003cb\u003eLudwig Weber\u003c\/b\u003e\u003cbr\u003eKurwenal - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eMelot - \u003cb\u003eHermann Uhde\u003c\/b\u003e\u003cbr\u003eEin Hirt - \u003cb\u003eGerhard Stolze\u003c\/b\u003e\u003cbr\u003eEin Steuerman - \u003cb\u003eGerhard Unger\u003c\/b\u003e\u003cbr\u003eStimme eines jungen Seemanns - \u003cb\u003eWerner Faulhaber\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBayreuth Festival Chorus and Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Martha Mödl and Ramón Vinay as Isolde and Tristan\u003cbr\u003eRecorded Bayreuth, 23 July 1952\u003cbr\u003eSpecial thanks to Michael Scarola\u003cbr\u003e\u003cbr\u003eTotal duration:  3hr 48:33  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO185.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO185.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064689782874,"sku":"gef1789303223448","price":37.31,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064689815642,"sku":"ldv1789303223449","price":30.25,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064689848410,"sku":"znc1789303223450","price":20.68,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/karajan-wagner-tristan-und-isolde-bayreuth-1952---paco185_1.jpg?v=1789303230","url":"https:\/\/vestorawear.shop\/products\/karajan-wagner-tristan-und-isolde-bayreuth-1952-paco185","provider":"My Store","version":"1.0","type":"link"}