Outstanding traditional performance
This Tannhauser sets a high standard and is a must for any Wagner collection. The staging and production are traditional and follow the intended production, versus a modern or abstract interpretation. While some of my favorite singers are not in this opera, such as Siegfried Jerusalem, James Levine and the performers bring out the intense emotions of the characters - particularly Tannhauser - and give great life and energy to this opera.

Good production marred by a poor performance by the lead role
Tannhauser is a Wagnerian opera that suffers from some undeserved snobbery. It was written during the phase when Wagner hadn't perfected the idea of a pure music drama. Tannhauser is unusual in that it blends some facets of French grand opera (that Wagner would so harshly criticize only a few years later) -- it has a ballet and set pieces and arias. I find this reputation undeserved -- Tannhauser is one of Wagner's more accessible operas to newcomers, and it is rich with beautiful melodies. But perhaps the biggest reason it's not performed as often as Wagner's other works is the extremely punishing, voice-killing title role. It's a rare tenor who is equipped to handle the demands of Tannhauser, especially the Rome narrative that comes at the end of 3 hours of singing.
Otto Schenk's sets are unabashedly traditional, which is part of its appeal. With all the vague and obscure symbolism that directors love to clutter into Wagnerian operas, it's nice to see Tannhauser presented as it was meant to be -- a medieval morality play. Although Venusburg looks like a weird caricature of scantily clad dancers gyrating for no particular reason, the direction has a nice touch of realism. The sets for the Wartburg castle is very pretty. Tannhauser has a well-deserved reputation as a voice killer. From the very opening notes, I knew Richard Cassily's Tannhauser would be more workmanlike than inspiring. His voice has an unpleasant, pinched, nasal quality, and his stage presence is portly and uninspiring. He gets through the part, but the sounds he makes are not always pretty. To be fair it's a rare tenor who can even tackle Tannhauser, but opera is an auditory as well as visual experience, and Cassilly fails on both counts.
Fortunately, he is surrounded by much stronger singers. Tatiana Troyanos is a thrilling Venus -- sexy, with a beautiful blooming voice. Venus's part is relatively brief but Troyanos makes her mark. Eva Marton is in her relatively brief prime vocally. Never the most compelling stage presence, hers is mostly a stand and sing performance, although close-ups reveal that she's shedding real tears in Act 2. Her voice can turn shrill under pressure, but it's a major league dramatic soprano. Her voice lacks a bit of delicacy and vulnerability for Elisabeth (listen to Victoria de los Angeles or Kirsten Flagstad), but it's a strong performance. "Allmacht-ge Jungfrau, hor mein Flehen" is very well-sung. Bernard Weikl's voice is disappointingly hollow, but he pulls it together (somewhat) for the famous "Ode to the Evening Star."
I am deducting two stars because of Cassilly's vocally and physically unappealing Tannhauser, but I still recommend this video as a great introduction to one of Wagner's most underrated works.
By the way, the production uses the *Paris* edition of the opera. Long story short: the premier of the opera n 1846 was not a success, and in 1861 Wagner made several changes, including writing a ballet in the Venusburg scene. The Paris premiere was not a success either, and Wagner remained unsatisfied with the opera up until his death in 1883.

Wagner, Tannhauser
Not much stage craft here, this is a older version of the opera,the performers were true to the script, but not the most attractive that I have seen with the exception of the final scene, this did not hold up to current theatre

Wonderful
Wagner the way he would have wanted it done. Great singing, fantastic stagecraft and Levine is in top form.

Wagner's Tannhauser
This wonderful record of a traditional, Metropolitan Opera production of 1982, excels in every way. The lead singers are vocally
thrilling, their acting expressive without being excessive, and they all
look good for their roles. Cassily seems a bit mature and sometimes
his singing is not lyrically beautiful, but he is a powerful Tannhauser.
They are helped by the production, beautiful sets by Gunther Schneider-
Siemssen, gorgeous costumes, especially for the women, intelligent
direction. The Metropolitan orchestra is most compelling under the
masterly leadership of a youthful James Levine and the chorus is glorious.
Tatiana Troyanos looks absolutely ravishing as Venus and her singing
in the first act is one of the many highlights of this rewarding DVD.