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Download Booklet WAGNER SIEGFRIED Simon O’Neill Matthias Goerne David Cangelosi Werner Van Mechelen Heidi Melton Hong Kong Philharmonic Orchestra Jaap van Zweden $ CD 1 81:28 Hättest du fleißig die Kunst gepflegt 3:11 Siegfried % (Mime, Siegfried) Notung! Notung! Neidliches Schwert! 8:04 The Second Day ACT I (Siegfried, Mime) of 1 ^ Vorspiel (Prelude) 4:10 Hoho! Hoho! Hohei! Schmiede, mein Hammer, Der Ring des Nibelungen ein hartes Schwert? 3:02 (The Ring of the Nibelung) Scene 1 (Siegfried, Mime) by & Den der Bruder schuf 2:53 2 Richard Wagner Zwangvolle Plage! Müh’ ohne Zweck! 3:35 (Mime, Siegfried) (1813 –1883) 3 (Mime) Hoiho! Hoiho! Hau ein! Hau ein! 4:01 CD 2 76:54 Siegfried . Simon O’Neill, Tenor 4 (Siegfried, Mime) Als zullendes Kind zog ich dich auf 5:23 ACT II Mime . David Cangelosi, Tenor 5 (Mime, Siegfried) 1 The Wanderer . Matthias Goerne, Bass-baritone Es sangen die Vöglein so selig im Lenz 5:12 Prelude 5:21 Alberich . Werner Van Mechelen, Bass-baritone 6 (Siegfried, Mime) Scene 1 Fafner . Falk Struckmann, Bass-baritone Einst lag wimmernd ein Weib 8:56 (Mime, Siegfried) 2 Forest Bird . Valentina Farcas, Soprano In Wald und Nacht vor Neidhöhl’ Erda . Deborah Humble, Mezzo-soprano Scene 2 halt ich Wacht 2:12 (Alberich) Brünnhilde . Heidi Melton, Soprano 7 3 Heil dir, weiser Schmied! 4:19 Wer naht dort schimmernd im Schatten? 8:23 (Alberich, Wanderer) 8 (Wanderer, Mime) 4 Hong Kong Philharmonic Orchestra Wie werd’ich den Lauernden los? 8:05 Mit Mime räng’ich allein um den Ring? 7:36 (Alberich, Wanderer, Fafner) 9 (Mime, Wanderer) Jaap van Zweden Nun rede, weiser Zwerg 3:05 Scene 2 0 (Wanderer, Mime) Nun, ehrlicher Zwerg 7:30 5 (Wanderer, Mime) Wir sind zur Stelle! Bleib hier stehn! 6:11 6 (Mime, Siegfried) Scene 3 Daß der mein Vater nicht ist 10:23 (Siegfried) ! 7 Verfluchtes Licht! 1:33 Haha! Da hätte mein Lied mir was Liebes erblasen 5:23 @ (Mime, Siegfried) Bist du es, Kind? 3:03 (Siegfried, Fafner) # (Mime, Siegfried) Fühltest du nie im finstren Wald 5:25 (Mime, Siegfried) 8 Wer bist du, kühner Knabe 4:59 Scene 2 Richard Wagner (1813–1883) 9 (Fafner, Siegfried) 7 Ist mir doch fast, als sprächen die Vöglein Dort seh’ich Siegfried nahn 3:56 Siegfried zu mir 2:10 8 (Wanderer, Siegfried) Wagner’s tetralogy, Der Ring des Nibelungen (The Ring his financial support, although the Festspielhaus had (Siegfried, Voice of the Forest Bird) Was lachst du mich aus? 4:20 of the Nibelung) was first performed as a whole in August been built partly through help solicited from friends in 1876 at the new Festspielhaus in Bayreuth. The complete Berlin, the new centre of power in Germany, whose leader 9 (Siegfried, Wanderer) Scene 3 Bleibst du mir stumm, störrischer Wicht? 4:20 cycle consists of a Prologue, Das Rheingold (The Wagner had celebrated in his Kaisermarsch in 1871. (Siegfried, Wanderer) Rhinegold), followed the next day by Die Walküre (The 0 Valkyrie), and then by Siegfried , leading up to the final Wohin schleichst du eilig und schlau 5:38 Synopsis 0 Götterdämmerung (Twilight of the Gods). Wagner’s first ! (Alberich, Mime) Orchesterzwischenspiel sketches for the libretto of the third projected opera, CD 1 Willkommen, Siegfried! 7:22 (Orchestral Interlude) 5:38 initially under the title Jung-Siegfried (Young Siegfried) @ (Mime, Siegfried, Alberich) and then Der junge Siegfried (The Young Siegfried), were Act I Neides Zoll zahlt Notung 2:48 Scene 3 written in 1851, with the text of the whole tetralogy # (Siegfried) ! completed in the years immediately following. The music Prelude Heiß ward mir von der harten Last 3:47 Selige Öde auf sonniger Höh’! 4:47 was composed from 1856 onwards, with a break after the 1 orchestral sketch of Act II in 1857, and the first two acts The Prelude to Act I reflects the thoughts of the $ (Siegfried) @ (Siegfried) Nun sing! Ich lausche dem Gesang 4:40 Das ist kein Mann! 7:29 fully scored in 1864 and 1865. He started work on Act III Nibelung Mime. only in 1869 and the scoring of the whole work was (Siegfried, Voice of the Forest Bird) (Siegfried) # completed in 1871. Siegfried was first heard at the new Scene 1 Brünnhilde’s Awakening 1:23 Festspielhaus at Bayreuth in 1876, as part of the 2 CD 3 51:08 tetralogy. As before, leading motifs associated with Mime sits by the forge in his cave in the forest, CD 4 32:28 characters, events and ideas in the drama, recur, hammering out a sword and complaining about his endless ACT III 1 interwoven to unify the whole conception. labour. He can make swords strong enough for giants, but 1 Heil dir, Sonne! Heil dir, Licht! 4:19 The sources of the drama were found in Icelandic Siegfried breaks them in two like children’s toys, but if he sagas, the thirteenth-century Middle High German Das could join together the blade of the great sword Nothung, Prelude 2:06 2 (Brünnhilde, Siegfried) Siegfried! Siegfried! Seliger Held! 6:47 Nibelungenlied and the Old Norse Thidreks Saga af Bern , Siegfried would be able to kill the dragon giant Fafner, and Scene 1 (Brünnhilde, Siegfried) but Wagner had recourse to a wide range of other then Mime could gain possession of the ring. He continues 3 reading, while the structure of the tetralogy and the his work and his complaint. Dort seh’ich Grane 6:33 3 2 underlying theme of the curse owes a strong debt to Siegfried comes cheerfully in from the forest. He is leading Wache, Wala! Wala! Erwach! 2:20 4 (Brünnhilde, Siegfried) Aeschylus and Greek tragedy. Siegfried embodies a bear, jokingly provoking it to attack Mime, who cowers in 3 (Wanderer) Sangst du mir nicht 2:33 something of Wagner’s immensely impractical political fear. Siegfried sets the bear free and it trots back to the wood. Stark ruft das Lied 3:01 5 (Siegfried, Brünnhilde) speculation. The infatuated young King Ludwig might be a He had sought a friend in the forest, sounded his horn and 4 (Erda, Wanderer) Ewig war ich, ewig bin ich 4:36 new Siegfried, to release Germany, represented by been joined by the bear. Mime has forged a sword for Mein Schlaf ist Träumen 4:20 6 (Brünnhilde, Siegfried) Brünnhilde, but Ludwig was to be flatteringly identified Siegfried, who takes the offered weapon, looking at it with other Wagnerian heroes, with Lohengrin and then critically. He strikes the anvil with it and the sword breaks in 5 (Erda, Wanderer) Dich lieb’ich, o liebtest mich du! 5:37 with Parsifal. The score of Siegfried , however, was pieces. He abuses Mime for his bad craftsmanship. Mime Wirr wird mir, seit ich erwacht 3:22 7 (Siegfried, Brünnhilde) (Erda, Wanderer) Lachend muß ich dich lieben 2:14 withheld from Ludwig by Wagner, who now had his eye 4rep roaches Siegfried for his ingratitude. 6 on a connection with Berlin, while plans for the He has looked after Siegfried, as he explains in his so- Weißt du, was Wotan will? 4:06 (Brünnhilde, Siegfried) Festspielhaus in Bayreuth seemed to deprive Ludwig of called nursing song, but is only hated in return. Siegfried (Wanderer) the centre of Wagnerian opera that he had wanted in admits that he has learned much from Mime, but never to Munich. In spite of Wagner’s duplicity, Ludwig continued like him. In fact he cannot stand him, always recognising % the evil in him and preferring the company of animals. spear and on it are the decrees that make the Nibelungs Siegfried, who now knows the name of the sword, outcome. Wotan goes and Alberich, swearing revenge, Mime tries to come near him, saying that in his heart he 9and giants subject for ever to the gods. Nothung, sings to it, as he forges it anew, describing what hides among the rocks. r5ea lly loves him, as a young bird loves its mother. Mime’s questions were nothing, but now Mime too must he is doing, how he felled a tree in the forest, which now Siegfried, though, has seen animals in the forest and 0wager his head against three questions from the Wanderer. blazes in the forge. Mime makes ready a drugged drink to Scene 2 asks where the woman is who is his mother. Mime claims He asks first the name of the family that has been the give Siegfried after the combat with Fafner, while the hero 5 to be both mother and father to him, but he has seen his object of Wotan’s anger, although he loves them. Mime h^appily continues his work. It is dawn as Mime and Siegfried approach Fafner’s reflection and knows he in no way resembles Mime. He answers correctly that it is the family of the Volsungs, Enjoying his task, Siegfried bids his hammer strike and cave, where Mime tells Siegfried he is to learn the asks where his true parents are. Mime declares that he is Siegmund and Sieglinde, and their offspring Siegfried. &continues his song, while Mime is busy with his own plans. necessary lesson of fear and goes on to describe the 6no relation to Siegfried, but took him in out of pity. The Wanderer asks what sword Siegfried must use to kill Mime has now prepared the poison for Siegfried, while terrible dragon. Siegfried has no apprehension and He had found Sieglinde in the forest, about to give birth Fafner, and is told that it is Nothung. Mime rashly the latter takes the sword, made whole again, and strikes suggests how the dragon should be killed.
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