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Download Booklet richard Wagner götterdämmerung en Flag st st ir aD K 1 g 956 Recordin Kirsten Flagstad • Set Svanholm • Ingrid Bjoner Eva Gustavson • Egil Nordsjø • Waldemar Johnsen Opera Chorus • Oslo Philharmonic Orchestra Norwegian State Radio Orchestra 4 Øivin Fjeldstad CDs GREAT OPERA RECORDINGS CD 1 52:40 6 Hier sitz’ ich zur Wacht 7:58 (Hagen) Prologue Scene 3 1 Prelude 2:04 7 Altgewohntes Geräusch 6:49 (Orchestra) (Brünnhilde, Waltraute) Richard 2 Welch’ Licht leuchtet dort? 10:20 8 Höre mit Sinn, was ich dir sage! 9:07 (First Norn, Second Norn, Third Norn) (Waltraute) WAGNER 3 Dämmert der Tag? 6:31 9 (1813-1883) Welch banger Träume Mären 6:07 (First Norn, Second Norn, Third Norn) (Brünnhilde, Waltraute) 4 Dawn 3:29 0 Blitzend Gewölk 2:52 (Orchestra) (Brünnhilde) Götterdämmerung 5 Zu neuen Taten, teurer Helde 2:15 ! Brünnhild’! Ein Freier kam 5:21 Music–Drama in Three Acts and a Prologue • Libretto by the Composer (Brünnhilde) (Siegfried, Brünnhilde) 6 Mehr gabst du, Wunderfrau 6:34 @ Jetzt bist du mein 2:43 (Siegfried, Brünnhilde) (Siegfried, Brünnhilde) Brünnhilde . Kirsten Flagstad (Soprano) 7 O heilige Götter 2:17 Gutrune . Ingrid Bjoner (Soprano) (Brünnhilde, Siegfried) CD 3 69:37 Third Norn ] 8 Siegfried’s Rhine Journey 5:22 Act II Woglinde . Unni Bugge-Hanssen (Soprano) (Orchestra) Waltraute Scene 1 . Eva Gustavson (Mezzo-soprano) 1 First Norn ] Act I Prelude 4:46 Second Norn (Orchestra) . Karen Marie Flagstad (Mezzo-soprano) Scene 1 2 Wellgunde ] 9 Nun hör, Hagen 2:47 Schläfst du, Hagen, mein Sohn? 13:13 Floßhilde . Beate Asserson (Contralto) (Gunther, Hagen) (Alberich, Hagen) Siegfried . Set Svanholm (Tenor) 0 Scene 2 Ein Weib weiß ich 7:56 3 Gunther . Waldemar Johnsen (Baritone) (Hagen, Gunther, Gutrune) Hoiho, Hagen! 4:57 Alberich . Per Grönneberg (Baritone) ! Vom Rhein her tönt das Horn 2:23 (Siegfried, Hagen, Gutrune) Hagen . Egil Nordsjø (Bass) Scene 3 (Gunther, Hagen, Siegfried) 4 Scene 2 Hoiho! Hoihohoho! 2:31 @ (Hagen, Vassals) Opera Chorus • Oslo Philharmonic Orchestra Heil! Siegfried, teurer Held! 0:42 5 (Hagen) Rüstet euch wohl 3:46 Norwegian State Radio Orchestra (Hagen, Vassals) Øivin Fjeldstad CD 2 59:59 6 Groß Glück und Heil 3:15 (Vassals, Hagen) Act I, Scene 2 (continued) Recorded in the Norwegian Radio Studios, Oslo, on 5th, 8th and 10th January, 1956 Scene 4 1 Wer ist Gibichs Sohn? 2:26 7 Heil dir, Gunther! 1:05 and in University Hall, Oslo, on 14th March, 1956 (Siegfried, Gunther, Hagen) (Vassals) First issued on Decca LXT 5205 through 5210 2 Begrüße froh, o Held 4:23 8 Brünnhild’, die hehrste Frau 1:34 (Gunther, Siegfried, Hagen, Gutrune) (Gunther, Vassals) 3 Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Vergäß’ ich alles 6:56 9 Gegrüßt sei, teurer Held 4:15 (Siegfried) (Gunther, Vassals, Siegfried, Brünnhilde, Hagen) 4 Blühenden Lebens labendes Blut 2:06 0 Einen Ring sah ich an deiner Hand 2:38 (Siegfried, Gunther) (Brünnhilde, Siegfried, Gunther, Hagen) 5 Was nahmst du am Eide nicht teil? 3:11 ! Betrug! Betrug! 6:33 (Siegfried, Hagen, Gunther, Gutrune) (Brünnhilde, Gutrune, Vassals, Gunther, Siegfried) @ Helle Wehr! Heilige Waffe! 2:56 9 Trink, Gunther, trink! 2:30 Richard Wagner (1813-1883): (Siegfried, Brünnhilde, Vassals) (Siegfried, Gunther, Hagen) # Glaub’, mehr zürnt es mich als dich 3:34 0 Mime hieß ein mürrischer Zwerg 5:05 Götterdämmerung (Siegfried) (Siegfried, Hagen, Vassals) Scene 5 ! In Leid zu dem Wipfel 2:51 This recording of Götterdämmerung , starring Kirsten same time a chance to trounce EMI. Negotiations were $ Welches Unholds List 2:42 (Siegfried, Hagen) Flagstad and Set Svanholm, was the first (almost) com - concluded in 1955 for Flagstad to record some Lieder (Brünnhilde) @ Was hör’ ich? 2:11 plete recording of the final part of Wagner’s mighty and Wagner for Decca, after which during early 1956 % Vertraue mir, betrogne Frau! 3:42 (Gunther, Hagen, Vassals) Der Ring des Nibelungen to be released commercially, Miles made it known to Decca that Flagstad had parti - (Hagen, Brünnhilde) # Brünnhilde, heilige Braut! 5:07 and therefore commands considerable interest. It is cipated in a farewell performance of Götterdämmerung ^ Auf, Gunther, edler Gibichung! 5:44 (Siegfried) also, however, one of the least distributed of recordings for Norwegian Radio, and that the commercial release (Hagen, Gunther, Brünnhilde) $ Siegfried’s Funeral March 6:12 of this opera, having been published on long-playing of this recording by Decca would be seen as confirma - & So soll es sein! 2:24 (Orchestra) records by Decca in the United Kingdom in 1956 and tion by her that she and Decca had entered into a se - (Gunther, Brünnhilde, Hagen) Scene 3 in America in 1957, after which Decca only published rious relationship. % War das sein Horn? 2:41 a two-LP set of highlights in 1970. Decca never sought On hearing the actual tapes of this performance in CD 4 77:56 (Gutrune) to publish it on compact disc, although two dedicated Oslo Culshaw was horrified to discover that about forty ^ Hoiho! Hoiho! 2:19 collector labels have done so, in Italy and Germany. minutes of music had been cut in the performance. His Act III (Hagen, Gutrune, Gunther) The context for the reasons for its original publication superiors in London, however, agreed to purchase the Scene 1 & Siegfried – Siegfried erschlagen! 3:19 are therefore significant, and have been laid out in de - right to release the tapes and authorised him to arrange 1 Prelude 3:04 (Gutrune, Gunther, Hagen) tail in the account of Decca’s recording of the whole of for the missing music to be recorded immediately. (Orchestra) * Schweigt eures Jammers jauchzenden Schwall 3:37 Der Ring under Sir Georg Solti, Ring Resounding , writ - When Culshaw met with Flagstad, he tried to persuade 2 Frau Sonne sendet lichte Strahlen 3:31 (Brünnhilde, Gutrune) ten by that recording’s producer John Culshaw. her to record the complete opera in Vienna under the (Woglinde, Wellgunde, Floßhilde) ( Starke Scheite schichtet mir dort 2:22 In the post-war era, Kirsten Flagstad was a major finest studio conditions, but she was adamant that this 3 Ein Albe führte mich irr 0:32 (Brünnhilde) name to conjure with, especially in Wagnerian circles. Norwegian performance should be published, if not by (Siegfried) ) Wie Sonne lauter strahlt mir sein Licht 2:13 She had appeared annually in Wagner operas at Covent Decca then by others who might be interested. Culshaw 4 Siegfried! 1:01 (Brünnhilde) Garden between 1948 and 1952, and gave her final ope - realised that it would be advantageous for Decca in the (Woglinde, Wellgunde, Floßhilde, Siegfried) ¡ O ihr, der Eide ewige Hüter! 4:07 ratic stage performances in America at the Metropolitan long run to accede to her wishes. Most of the missing 5 Ein goldner Ring ragt dir am Finger! 2:34 (Brünnhilde) Opera in 1952 as Gluck’s Alceste, and in Europe in her music was recorded, except for the orchestral interlude (Woglinde, Wellgunde, Floßhilde, Siegfried) ™ Mein Erbe nun nehm’ ich zu eigen 2:14 native Oslo during 1953 as Purcell’s Dido. In the same between the first and second scenes of the First Act, for 6 Behalt ihn, Held 6:32 (Brünnhilde) year EMI released on its HMV label an early complete which there was insufficient studio time. Looking back (Floßhilde, Woglinde, Wellgunde, Siegfried) £ Fliegt heim, ihr Raben! 1:18 recording of Wagner’s Tristan und Isolde , conducted on this episode later Culshaw was convinced that by is - 7 Weialala leia 2:06 (Brünnhilde) by Wilhelm Furtwängler (available on Naxos suing this recording of Götterdämmerung Decca had (Woglinde, Wellgunde, Floßhilde, Siegfried) ¢ Grane, mein Roß, sei mir gegrüßt! 6:27 8.110321-24), which generated high critical praise and cemented its relationship with Flagstad, and as a result Scene 2 (Brünnhilde, Hagen) great public enthusiasm. This recording, however, also was seen by her as a company that would keep its pro - 8 Hoiho! 4:02 caused a parting of the ways between Flagstad and EMI mises and would take risks on her behalf. The value of (Hagen, Vassals, Siegfried) as it was inadvertently made public that Isolde’s top Cs this firm relationship may be seen in the later, extraor - in the Second Act had been sung by Elisabeth Schwar - dinarily successful, casting of Flagstad as Fricka in zkopf and not by Flagstad. Decca throughout this pe - Culshaw’s recording of Das Rheingold of 1958 – the riod was an assertive ‘number two’ company to EMI, first episode of the complete Solti-Culshaw Ring , and and when John Culshaw heard through the pianist Ju - a recording that on its initial release reached the Ame - lius Katchen that Flagstad’s voice was still in excellent rican Top Ten LP chart. He also felt that the Oslo Göt - condition, and furthermore through the actor and direc - terdämmerung demonstrated to Flagstad the feasibility tor Bernard Miles that she might be persuaded to record of the establishment of a Norwegian National Opera, a with Decca, he grasped what seemed like both an ex - concept in which she passionately believed. In fact she cellent commercial and musical opportunity, and at the later did become the first director of the newly establi - shed Norwegian National Opera, between 1958 and greatly helping the company’s then precarious financial are often performed individually. The scale and scope continue though three generations of protagonists, until 1960. So the consequences of the publication of this position. She appeared at the Royal Opera House in of the story of The Ring is truly epic. It follows the the final cataclysm is reached at the end of Gõtterdäm - recording were considerably greater than anyone could London during the 1936 and 1937 opera seasons sin - struggles of gods, heroes and several mythical creatu - merung.
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