LDV16

Speaking of the orchestral sound of Tristan , what are the great versions of the work that have influenced you? W. L.: I have a very special penchant for the recording made at Bayreuth in 1966, with Birgit Nilsson andWolfgangWindgassen under the direction of Karl Böhm. The transcription of the Liebestod is a piece cherished by performers. How long has it been in your repertory? W. L.: I first learnt it for my final examinations at the CNSM in Lyon, and went back to it again some years later. ThisWagner project has led me to immerse myself in it again with enormous pleasure. To be quite honest with you, I must admit that I’m thinking more of the second act of Tristan when I play the Liebestod ; I hear Tristan too . . . 22 EXTASE MAXIMA