Wagner Complete Opera

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Wagner-Festival house Bayreuth

Staatsoper Berlin

Richard Wagner (1813–1883)

Complete Opera

Index - R. Wagner Operas

1 Die Feen / The Fairies – WWV 32

2 Das Liebesverbot / The Ban on Love – WWV 38

3 Rienzi, der Letzte der Tribunen / the Last of the Tribunes– WWV 49

4 Der fliegende Holländer / The flying Dutchman – WWV 63

5 Tannhäuser – WWV 70

6 Lohengrin – WWV 75

Der Ring des Nibelungen / The Ring of the Nibelung – WWV 86

7 Das Rheingold / The Rhine Gold – WWV 86a

8 Die Walküre / The Valkyrie – WWV 86b

9 Siegfried – WWV 86c

10 Götterdämmerung / The dusk of the gods – WWV 86d

11 Tristan and Isolde – WWV 90

12 Die Meistersinger von Nürnberg / The Mastersingers of Nuremberg – WWV 96

13 Parsifal – WWV111

Die Feen / The Fairies – WWV 32

Romantic Opera in 3 Acts (Early work)

Total time ca. 2 1/4 Hours

Premiere: 29.06.1888 (National theatre Munich)

Cast of recording

Orchestre e Choro del Teatro Communale di Cagliari – Gabor Övtös Jyrki Korhonen – Feen-König (Bass), Sue Patchell – Ada (Sopran), Ulrike Sonntag – Zermina (Sopran), Manuela Kriscak – Farzana (Sopran), Raimo Sirkiä – Arindal (Tenor), Artur Korn – Gernot (Bass), Dagmar Schellenberg (Sopran), Birgit Beer (Sopran), Sebastian Holecek (Bariton), Frieder Lang (Tenor), Alessandro Patalini (Tenor), Francesco Ruta (Bass) Recorded 1998

Libretto by Richard Wagner.

Roles: • Feenkönig / Fairy King (Bass) • Ada (Soprano) - a Fee / a fairy • Arindal (Tenor) - König von Tramond / King of Tramond • Lora (Soprano) - eine Schwester / his sister • Drolla (Soprano) - deren Zofe / her maid • Morald (Baritone) - Arindals Freund und Loras Geliebter / Arindal's friend and lover of Lora • Gernot (Bass) - Arindals Freund / Arindal's friend • Gunther (Tenor) - am Hof von Tramond / at the court of Tramond • Bote / Messenger (Tenor) • Zemina (Soprano) - a Fee / a fairy • Farzana (Soprano) - a Fee / a fairy • Herald (Bass) - Arindals Feldherr / Arindal's commander • Groma (Bass) - ein Zauberer /a magician • Chor / Chorus - Feen, Geister, Krieger, Kinder, Volk / fairies, Groma's invisible spirits, soldiers, • childrens, people

Synopsis:

In Fairyland, the fairy tale time:

Act 1 The Fairies Farzana and Zemina want Ada, who has fallen in love with a man, cure of this love and save their immortality. Arindal, accompanied by his friend Gernot, succeeds in, the beautiful fairy for itself succeeds, but he may no question of her name or origin of them for eight years. Shortly before the deadline expired, Arindal can no longer restrain his curiosity and represents the forbidden question. He is expelled from the fairy kingdom and exiled by Gernot in a rocky desert area. There Morald and Gunther search for her for eight years missing King and meet Gernot, who told them her story. It is bad to Arindal's Kingdom, because Murald, Lora has once dismissed, is invaded with his army. Finally Morald and Arindal come together with the help of the magician Groma and the king decides to return home. He takes leave of Ada, which he has found and asks him not to curse.

Act 2 Arindal has returned to his people. But he only thinks of Ada and is unable to lead the army against the enemy, fighting under Morald. Ada appears in the form of magic, raises her two children seemingly into the fire and fought Arindal army. Everything is horrified. Arindal believes that his wife is evil. He cursed them and listening to his despair that everything is just been a sample. The fairies win back Adas immortality, but she must atone turned one hundred years in stone. Morald defeated the enemies, Harald is unmasked as a traitor. Arindal goes mad after he has recognized his fault.

3 Act 3 Morald and Lora are hailed as the new royal couple, but Morald wants to govern only until Arindal is healthy again. This heard in his madness Adas action and breaks with Gernot in order to free them. From Groma he gets magic weapons and a lyre, which should help him. Gernot and Arindal fight against ghosts and brazen men, defeat them and find the stone turned into Ada. Through the magic lyre and his singing Arindal can Ada bring her to life again, although Zemina and Farzana wish him bad luck. The Fairy King takes the brave as immortalized in his kingdom. Arindal fulfills Ada's request to renounce the earth: He gives his children and the crown Morald and Lora and pulls the cheers of the immortals into fairyland. ewig mit seiner Ada vereint ist.

Das Liebesverbot / The Ban on Love – WWV 38

Great comic Opera in 2 Acts

Total time ca. 2 1/2 Hours

Premiere: 29.03.1836 (Magdeburg)

Cast of recording

ORF-Chor & Wiener Rundfunkorchester - Robert Heger Brighella - Ludwig Welter, Pilato - Herbert Prikopa, Antonio - Willy Friedrich, Angelo - Ernst Salzer, Danieli - Franz Handlos, Claudio - Anton Dermota, Isabella - Hilde Zadek, Friedrich - Heinz Imdahl, Luzio - Kurt Equiluz, Marianna - Christiane Sorell, Dorella - Hanny Steffek Recorded 1963

Libretto by Richard Wagner (Shakespeares "Measure for Measure").

Roles: • Friedrich / Frederick (Bariton) – Statthalter Siziliens • Luzio / Lucio (Tenor) – junger Edelmann / young Nobleman • Claudio (Tenor) – junger Edelmann / young Nobleman • Antonio (Tenor) – Freunde / Friends • Angelo (Bass) – Freunde / Friends • Isabella (Soprano) – Claudios Schwester • Mariana (Soprano) – Novizin im Kloster • Brighella (Bass-Bariton) – Chef der Sbirren / chief of the watches • Danieli (Bass) – Wirt einer Weinstube / Host of a wine bar • Dorella (Soprano) – Kammermädchen / Maid • Pontio Pilato (Tenor) – Diener Danielis (Servant Danieli's • Chorus – Richter, Sbirren, Masken, Volk / Judge, Watches, Masks, People

Synopsis:

Sicily, in the Middle Ages.

Act 1 Palermo im 16. Jahrhundert. Friedrich, der Stadthalter des Königs, erläßt in Palermo strenge Regelungen, die ausschweifendes Verhalten und besonders den bevorstehenden Karneval untersagen. Die neuen Verordnungen richten sich insbesondere auch gegen die freie Liebe. Das Volk, dem diese Anordnungen verkündet werden, hält sie für einen groben Scherz, es sieht sich jedoch konfrontiert mit harten Maßnahmen durch den Polizeichef Brighella, der mit seinen Sbirren die Einhaltung der Gebote überwacht. Als erster bekommt dies Claudio zu spüren, ein junger Edelmann, der von Brighella bei einer Liebelei erwischt und deshalb am folgenden Tag zum Tode verurteilt werden soll. Sein Freund Luzio sucht auf Bitten des Festgenommenen dessen Schwester auf, die als Novizin in einem Kloster lebt und beim Statthalter für ihren Bruder bitten soll. Im Kloster der heiligen Elisabeth lebt Isabella mit anderen Novizinnen, darunter Mariana, die frühere Frau des Stadthalters, die dieser jedoch aus politischem Machtstreben verstoßen hat. Als Luzio zu den Frauen stößt und diesen vom Schicksal seines Freundes berichtet, sind diese entsetzt über die harte Strafe, die Claudio wegen einer Liebschaft treffen soll und über den Sinneswandel des ehemals in der Liebe so ausschweifenden Stadthalters. Isabella, in die sich Luzio vom ersten Augenblick an verliebt hat, ist bereit, für ihren Bruder Fürsprache einzulegen.

4 Im Gerichtssaal, in dem zunächst Brighella mit harten Maßnahmen das aufgebrachte Volk zurückdrängt, verkündet Friedrich alsbald das Todesurteil gegen Claudio, nachdem er den vom Volk geforderten Rückruf seiner Gesetze abgelehnt hat. Da schreitet jedoch Isabella ein und bittet für ihren Bruder. Es gelingt ihr, den Statthalter, der sich gleichfalls in sie verliebt hat, umzustimmen: Er wird Claudio die Freiheit schenken, wenn Isabella sich ihm hingibt. Um diesen eigenen Widerspruch Friedrichs zu seinen Gesetzen auf zudecken, wendet sich Isabella heftig gegen den Stadthalter. Dann läßt sich aber zum Schein von ihm beschwichtigen und geht auf den Handel ein, um Claudio die Freiheit zu sichern.

Act 2 Im Gefängnis berichtet Isabella ihrem Bruder von dem Handel mit Friedrich, worauf Claudio zunächst empört über die Rolle ist, die seine Schwester dabei spielen will. Schließlich lenkt er aber ein, und Isabella vertraut ihren Plan Luzio an, der gleichfalls zunächst entsetzt reagiert, dann jedoch in alles einwilligt. Isabella bestellt Friedrich, er möge maskiert zur Verabredung erscheinen, wodurch der Statthalter selbst gegen das von ihm erlassene Vermummungsverbot verstoßen muß. Durch die Maskierung soll es Mariana möglich sein, an Isabellas Statt ihren Mann zu empfangen und hinters Licht zu führen. Als der Stadthalter die Nachricht erhält, ist er außer sich vor Freude. In der Stadt wird unterdessen dem Verbot zum Trotz der Karneval gefeiert. In diesem bunten Treiben tauchen nun Isabella und Mariana, identisch gekleidet, auf. Mariana begibt sich zum verabredeten Punkt, wo der Stadthalter glaubt, Isabella erwarte ihn. Auch Luzio fällt auf die Verkleidung der beiden Frauen herein und folgt Mariana, die er für Isabella hält. Isabella erhält unterdessen von Pontio ein Pergament, auf dem sich die versprochene Begnadigung für ihren Bruder befinden soll. Als sie jedoch das Siegel erbricht, muß sie die Bestätigung des Todesurteils gegen Claudio lesen. Empört ruft sie das Volk zusammen und entlarvt hinter den Masken unter anderem Friedrich, der sich mit Mariana den Freuden und Freiheiten des Karnevals hingibt. Friedrich gesteht seinen eigenen Gesetzesbruch ein und will sich der von ihm selbst dafür geforderten Strafe unterwerfen; das Volk jedoch verzeiht und läßt ihn gehen. Das Urteil gegen Claudio wird aufgehoben, Luzio gewinnt Isabella für sich. Im Jubel auf den Karneval und die Liebe wird die Ankunft des Königs gemeldet.

Rienzi, the Last of the Tribunes – WWV 49

Great tragical Opera in 5 Acts

Total time ca. 4 1/2 Hours

Premiere: 30.10.1842 (Saxon Court Theatre Dresden)

Cast of recording

BBC Northern Symphony Orchestra - Edward Downes Rienzi - John Mitchinson, Irene - Lois McDonall, Colonna - Michael Langdon, Adriano - Lorna Haywood, Orsini - Raimund Herincx, Kardinal - David Ward, Baroncelli - Adrian de Peyer, Cecco - Paul Hudson, Bote - Elizabeth Gale Recorded 1976

Libretto by Richard Wagner (based on “Rienzi“ by Edward Bulwer-Lytton anno1835).

Roles: • Cola Rienzi (Tenor) - päpstlicher Notar / a Roman tribune • Irene (Soprano) - Rienzis Schwester / his sister • Steffano Colonna (Bass) - Haupt der Familie Colonna / a nobleman • Adriano (Mezzo-Soprano) - dessen Sohn / his son • Paolo Orsini (Bass) - Haupt der Familie Orsini/ a nobleman • Cardinal Raimondo (Bass) - päpstlicher Legat / Papal Legate • Baroncelli (Tenor) - römischer Bürger / a Roman citizen • Cecco del Vecchio (Bass) - römischer Bürger / a Roman citizen • ein Friedensbote / Messenger of Peace (Soprano) • ein Herold / a Herold • Chorus: Gesandte, römische Nobili, Priester, Söldner, Volk, Friedensboten / Roman nobles and guardsmen, followers of the Colonna and Orsini families, priests and monks of all religious orders, senators, Roman men and women, messengers of peace

5 Synopsis:

Rome, mid-14th century

Act 1

Rome in the middle of the 14th century. Members of the Orsini family try to abduct Rienzi’s sister, Irene, but she is rescued by Adriano Colonna, the scion of a rival patrician faction. Fighting breaks out between the two groups, and the lower orders quickly join in. They ignore Cardinal Raimondo’s attempts to quell the riot. Order is finally restored by Rienzi, who lectures the nobles on their dissolute behaviour, which has turned Rome into a hotbed of godless criminality. The common people acclaim Rienzi, but the nobles, united in their contempt for the plebeian demagogue, deride him. They leave to continue their dispute outside the city walls. Rienzi’s followers urge him to show greater leadership and break the tyranny of the nobles. He bids them prepare for the coming conflict. Adriano, who has remained behind, asks Rienzi to show clemency to the nobles, but Rienzi reminds him that it was a Colonna who murdered his brother. Adriano agrees to fight for Rome and is entrusted with the task of caring for Irene. The two express their love for one another. At a signal, the populace assembles to rid Rome of its patrician parasites and acclaims Rienzi as its saviour. He rejects their offer of a crown but agrees to be hailed as a tribune of the people.

Act 2

Peace and freedom have been restored to Rome. Orsini and Colonna promise to serve Rienzi while secretly plotting his downfall. Adriano overhears them and protests at their murderous plan, but in vain. Rienzi greets the visiting ambassadors, informing them that Rome no longer recognizes the Holy Roman Emperor and demanding that the Emperor’s powers be invested in him and the people of Rome. He then proceeds to entertain the company with an extended ballet depicting an allegory of the concord between ancient and modern Rome. At its climax Orsini tries to kill Rienzi, but the armour concealed beneath his garment deflects the blow. The people demand the death penalty, but Rienzi yields to the combined entreaties of Adriano and Irene and spares the nobles’ lives on condition that they swear a new oath of allegiance.

Act 3

The curtain rises on a scene of turmoil as the common people flock to the Forum: the nobles have broken their word and fled, intending to return with redoubled force. Rienzi enters and swears to be avenged on the traitors. The people enthusiastically prepare for battle. Torn between his love of Irene and his duty to his father, Adriano prays for guidance. Rienzi’s patriotic appeal strikes a chord in his fellow Romans, who answer with a battle hymn. Adriano tries yet again to deter Rienzi from his purpose. He stays behind to defend Irene and the womenfolk, while an army of Romans, with Rienzi and representatives of the Church at its head, marches off to defend the city. The women pray to the Virgin Mary for the welfare of their menfolk, as Adriano wrestles with his conscience. The warriors return, leaving the nobles vanquished and their two leaders dead. Adriano swears to be avenged for the death of his father. The others all march in triumph to the Capitol.

Act 4

The square outside St John Lateran at night. The foreign ambassadors have all left in dismay at the latest turn of events. Rienzi’s former supporters, Cecco del Vecchio and Baroncelli, have likewise turned against him now that the Pope has declared his alliance with the new Emperor, leaving Rienzi dangerously exposed. Baroncelli urges the people to turn on their leader, their allegiance tested by the heavy casualties. Adriano enters and adds his voice to the conspiracy, offering to be the one who strikes the fatal blow. Cardinal Raimondo, accompanied by priests and monks, enters the church, where a Te Deum is due to be offered for the recent victory. When Rienzi and Irene arrive to attend the service, the conspirators bar their way. His oratory briefly wins them over, but the Cardinal appears on the steps of the church and proclaims Rienzi’s excommunication. The people scatter in horror, while Adriano tries to persuade Irene to flee with him, but she continues to stand by her brother. Brother and sister are left alone together as the sounds of malediction issue from the church.

Act 5

Rienzi prays to God for strength. Irene alone will not abandon him. Adriano makes one final attempt to persuade Irene to leave with him. She refuses. In the square outside the Capitol, the people prepare to torch the building, refusing to allow Rienzi to address them. As they set the Capitol alight, Rienzi predicts that one day he will return. The roof collapses on Rienzi, Irene and Adriano as the nobles return on foot and on horseback to attack the people of Rome.

6 Der fliegende Holländer / The flying Dutchman – WWV 63

Romantical Opera in 3 Acts

Total time ca. 2 1/3 Hours

Premiere: 2.01.1843 (Saxon Court Theatre Dresden)

Cast of recording

Chicago Symphony Orchestra - Georg Solti Isola Jones (Mezzo-Sopran)- Mary, Janis Martin (Sopran) - Senta, Martti Talvela (Bass) - Daland, Norman Bailey (Bass-Bariton) - Holländer, René Kollo (Tenor) - Erik, Werner Krenn (Tenor) - Steuermann Recorded 1976

Libretto von Richard Wagner (inspiriert von Heines "Memoiren des Herrn von Schnabelewopski").

Roles: • Daland, norwegischer Seefahrer (Bass) • Senta, seine Tochter (Sopran) • Erik, ein Jäger (Tenor) • Mary, Sentas Amme (Mezzo-Sopran) • Der Steuermann Daland (Tenor) • Der Holländer (Bariton) • Matrosen des Norwegers (Chor) • Die Mannschaft des fliegenden Holländers (Chor) • Mädchen (Chor)

Synopsis:

The Norwegian Coast, ca. 1650

Act 1 A violent storm has driven Daland’s ship several miles from his home on the Norwegian coast. Sending his crew off to rest, he leaves the watch in charge of a young steersman, who falls asleep as he sings a ballad about his girl (“Mit Gewitter und Sturm”). A ghostly schooner drops anchor next to Daland’s ship. Its captain steps ashore and, with increasing despair, reflects on his fate (“Die Frist ist um”): Once every seven years he may leave his ship to find a wife. If she is faithful, she will redeem him from his deathless wandering. If not, he is condemned to sail the ocean until Judgment Day. When Daland discovers the phantom ship, the stranger, who introduces himself as “a Dutchman,” tells him of his plight and offers gold and jewels for a night’s lodging. When he learns that Daland has a daughter, the Dutchman asks for her hand in marriage. Happy to have found a rich son-in-law, Daland agrees and sets sail for home.

Act 2 Daland’s young daughter, Senta, is captivated by the portrait of a pale man in black—the Flying Dutchman—while her friends sit spinning under the watchful eye of Mary, Senta’s nurse. The girls tease Senta about her suitor, Erik, who is not a sailor but a hunter. When the superstitious Mary refuses to sing a ballad about the Dutchman, Senta sings it herself (“Traft ihr das Schiff im Meere an”). The song reveals that the Dutchman’s curse was put on him for a blasphemous oath. To Mary and the girls’ horror, Senta suddenly declares that she will be the one to save him. Erik enters with news of the sailors’ return, and Mary and the others hurry off. Erik reminds Senta of her father’s intention to find her a husband and asks her to plead his cause, but she remains distant (“Mein Herz, voll Treue bis zum Sterben”). Realizing how much the Dutchman’s picture means to her, he tells her of a frightening dream in which he saw her passionately embrace the Dutchman and sail away on his ship. Senta exclaims that this is what she must do, and the despairing Erik rushes away. A moment later, the Dutchman enters. Senta stands transfixed. Daland quickly follows and asks his daughter to welcome the stranger, whom he has brought to be her husband (“Mögst du, mein Kind”). After he has left, the Dutchman, who is equally moved by the meeting, asks Senta if she will accept him as her husband (Duet: “Wie aus der Ferne”). Unaware that she realizes who he is, he warns her of making a rash decision, but she ecstatically vows to be faithful to him unto death. Daland returns and is overjoyed to learn that his daughter has accepted the suitor.

7 Act 3 At the harbor, the villagers celebrate the sailors’ return with singing and dancing (Chorus: “Steuermann, lass die Wacht!”). Perplexed by the strange silence aboard the Dutchman’s ship, they call out to the crew, inviting them to join the festivities. Suddenly the ghostly sailors appear, mocking their captain’s quest in hollow chanting. The villagers run away in terror. Quiet returns and Senta enters, followed by the distressed Erik. He pleads with her not to marry the Dutchman, insisting that she has already pledged her love to him (“Willst jenes Tag’s”). The Dutchman, who has overheard them, loses all hope of salvation and goes toward his ship. Senta tries to stop him but he explains that since she has not yet proclaimed her vows before God, she will escape eternal damnation— the fate of those who betray him. His crew prepares to cast off and he declares that he is the Flying Dutchman of legend. Senta ecstatically replies that she knows who he is. As the ship pulls away, she throws herself into the sea, crying that she is faithful unto death.

Tannhäuser (und der Sängerkrieg auf der Wartburg) – WWV 70 (and the Contest of Song on the Wartburg)

Great romantical Opera in 3 Acts

Total time ca. 3 3/4 Hours

Premiere: 19.10.1845 (Saxon Court Theatre Dresden)

Cast of recording

Staatskapelle Berlin - Daniel Barenboim, Chor der Deutschen Staatsoper Berlin Isola Jones (Mezzo-Sopran)- Mary, Janis Martin (Sopran) - Senta, Martti Talvela (Bass) - Daland, Norman Bailey (Bass-Bariton) - Holländer, René Kollo (Tenor) - Erik, Werner Krenn (Tenor) - Steuermann Recorded 2001

Libretto by Richard Wagner.

Roles: • Hermann (Bass) - Landgraf von Thüringen / Landgrave of Thuringia • Tannhäuser (Tenor) • Wolfram von Eschenbach (Bariton) - Ritter und Sänger / knight and minnesinger • Walther vom der Vogelweide (Tenor) - Ritter und Sänger / knight and minnesinger • Biterolf (Bass) - Ritter und Sänger / knight and minnesinger • Heinrich der Schreiber - Ritter und Sänger / knight and minnesinger • Reinmar von Zwetter (Bass) - Ritter und Sänger / knight and minnesinger • Elisabeth / Elizabeth (Sopran) - Nichte des Landgrafen / niece of the Landgrave • Venus (Sopran) • Ein Junger Hirt / A young Shepherd (Sopran) • Vier Edelknaben / Four Pages (Soprano & Alto) • Chorus - Thuringian knights, Counts and noblemen, Noblewomen, Older pilgrims, Younger pilgrims, Sirens, Naiads, Nymphs, Bacchantes

Synopsis:

Thuringia, Wartburg and around 13 century

Act 1 Medieval Germany. In the Venusberg, magical mountain abode of Venus, the minstrel Tannhäuser halfheartedly praises the goddess of beauty, who for more than a year has bestowed her love upon him. Venus promises greater revels when Tannhäuser asks for his freedom, but she curses his hopes of salvation when he longs for the simple pleasures and pains of earthly life. In response he calls on the Virgin Mary, and the Venusberg vanishes.

Tannhäuser finds himself in a sunny valley near the castle of the Wartburg, where passing pilgrims inspire him to laud the wonders of God. Horns announce the Landgrave Hermann and his knights, who recognize their long-lost comrade and invite him to the castle. One of them, Wolfram von Eschenbach, reminds Tannhäuser that in the past his singing won the love of Elisabeth, the landgrave's beautiful niece. On hearing her name, Tannhäuser embraces and joins his companions.

8 Act 2 Elisabeth greets the hall of the singers. She has not entered it since Tannhäuser's disappearance. When Tannhäuser enters, she can scarcely conceal her feelings for him. He too admits that the thought of her was the only thing that caused him to return. The Landgrave is pleased to find his niece in the hall. He suspects why she has returned again after such a long absence. The Landgrave greets the guests who have come to witness the Minnesingers' song contest. As a topic for the singers he poses the problem "to fathom the essence of love". Wolfram, Walther von der Vogelweide and Biterolf sing in praise of pure and idealized love. Tannhäuser, on the other hand, names sensual pleasure as being the true essence of love. He allows himself to be carried away by his passion and invokes the goddess of love herself. The assembled guests are shocked and want to kill Tannhäuser. But Elisabeth, although herself deeply offended by Tannhäuser's outburst, intervenes and places herself before him. The Landgrave pronounces his judgement: Tannhäuser is to be banished; he is to join the pilgrims going to Rome and must beg the Pope for forgiveness.

Act 3 Elisabeth is awaiting Tannhäuser's return. The pilgrims return from Rome, but Tannhäuser is not among them. Elisabeth implores the Virgin Mary to take her life as expiation for his sins. Wolfram has been watching her. In his song to the evening star he sings of her impending death. Tannhäuser appears and tells Wolfram of his sufferings on the pilgrimage to Rome and that the Pope refused to pardon him as he had hoped. He has no other choice but to once again seek refuge in the Venusberg. By invoking the power of Elisabeth's name, Wolfram is able to break the goddess's spell. A procession aprroaches with Elisabeth's dead body. Her death is Tannhäuser's redemption. Young pilgrims returning from Rome announce that Tannhäuser has gained absolution: the Pope's staff has put forth fresh green leaves. Tannhäuser dies.

Lohengrin – WWV 75

Romantical Opera in 3 Acts

Total time ca. 4 Hours

Premiere: 28.08.1850 (Court Theatre Weimar – Leading : Franz Liszt)

Cast of recording

Staatskapelle Berlin - Daniel Barenboim, Chor der Deutschen Staatsoper Berlin Isola Jones (Mezzo-Sopran) - Mary, Janis Martin (Sopran) - Senta, Martti Talvela (Bass) - Daland, Norman Bailey (Bass-Bariton) - Holländer, René Kollo (Tenor) - Erik, Werner Krenn (Tenor) - Steuermann Recorded 2001

Libretto by Richard Wagner.

Roles: • Heinrich der Vogler / Henry the Fowler (Bass) - deutscher König / King of Germany • Lohengrin (Tenor) • Elsa von Brabant (Soprano) • Friedrich / Frederick von Telramund (Bariton) - brabantischer Graf / a count of Brabant • Ortrud (Soprano oder Mezzosoprano) - Friedrichs Gemahlin / Frederick's wife • Der Heerrufer des Königs / The King's Herald (Bariton) • Vier brabantische Edle / Four Noblemen of Brabant (Tenor, Bass) • Vier Edelknaben / Four Pages (Soprano, Alto) • Herzog Gottfried / Duke Godfrey (stumme Rolle /silent role) - Elsas Bruder / Elsa's brother • Choro

9 Synopsis:

Antwerp, 1st Half of the 10th Century.

Act 1

A plain on the banks of the River Scheldt near Antwerp King Henry of Germany has come to Antwerp to urge the people to join with him in battle against invading Magyars, but he finds the Brabantians locked in civil strife without a leader. Frederick of Telramund explains that on his deathbed the Duke of Brabant had entrusted to his care his two children, Elsa and Godfrey, on the understanding that he would marry Elsa and be guardian to Godfrey. But Godfrey has disappeared, Elsa is suspected of doing away with him and Telramund has married Ortrud, daughter of Radbold, King of the Frisians. In her name and his own he claims the dukedom and accuses Elsa of fratricide and of having a secret lover. The king agrees to judge the case and Elsa is summoned. Her only answer to the accusations is to relate a dream in which a hero appeared in answer to her need. To him she will entrust her cause. The king decrees trial by combat, and the herald calls for a champion to appear.

A knight appears, in a boat drawn by a swan. He says he has been sent by God to be Elsa's champion. She accepts him as champion and husband, agreeing to his condition that she must never ask his name or lineage or where he came from. Telramund is defeated in the duel, but the stranger knight spares his life and is acclaimed by the populace.

Act 2

The fortress of Antwerp Telramund blames Ortrud for his downfall, as she had told him that she saw Elsa drown her young brother, but she convinces him that he was defeated by magic rather than divine intervention. She claims that the stranger's magic would fail if he could be made to reveal his name - or even if the tip of a finger were to be cut off. As only Elsa can ask him to reveal his name, Ortrud plans to undermine her confidence. Elsa appears on the balcony and Otrud, calling to her from the darkness, succeeds in winning her pity, invoking the pagan gods in triumph as Elsa prepares to let her in. Ortrud begs Elsa to intercede for Telramund and suggests that as the stranger arrived by magic, so he may leave by magic, but Elsa's faith is unshaken.

At dawn the herald proclaims the banishment of Telramund and announces that the king has invested the crown of Brabant in Elsa's husband, who will lead the Brabantians into battle. Four nobles mutter their resentment at this decision and Telramund offers to lead them in rebellion.

As Elsa is about to enter the church for her wedding Ortrud claims that she must yield pride of place to her, since her husband has been falsely accused and is of noble birth, whereas no one knows anything about Elsa's husband. Claiming that he would be revealed a fraud if he had to divulge the source of his power, she challenges Elsa to ask the question. Telramund accuses the strange knight of witchcraft and asks his name and lineage, but he is answerable to Elsa alone. Telramund whispers to Elsa that if she were to let him cut off the tip of the stranger's finger his secret would be known and he would never leave her. She rejects the advice and goes into the church with her husband, who orders Telramund and Ortrud to leave.

Act 3

The bridal chamber Following the good wishes of their attendants, Elsa and her husband are left alone for the first time. Their delight in one another is soon undermined by her regrets that she cannot call her husband by his name and her fears that he may leave her. A hysterical vision of the swan returning to take him away leads to the fatal question. Telramund bursts in with his followers and is killed by Lohengrin, who tells the nobles to bring the body before the king. He calls Elsa's ladies to dress her and tells her he will answer her question before the king. The banks of the Scheldt

The king thanks the people for their support in defending Germany against the heathen. The body of Telramund is carried in, followed by Elsa and her husband, who tells the king he will not be able to lead the people of Brabant into battle. He is absolved from blame for Telramund's death.

Explaining that Elsa has been tricked into asking the forbidden question, he answers it: he is one of the champions of the Holy Grail, who are sent out into the world to defend the cause of right. But they must leave once their identities are known. He is Lohengrin, son of Parsifal, who wears the crown of the Grail. He prophesies that Germany will never be conquered by the eastern hordes. The swan appears and Lohengrin bids farewell to Elsa, telling her that if he had been able to stay, her bother Godfrey, who is not dead, would have returned. Ortrud exults at her success in driving Lohengrin away and that Godrey must remain in the form of the swan as a result of her witchcraft. Lohengrin kneels in prayer and when he takes the chain from the neck of the swan, it is transformed into Godfrey. Elsa falls lifeless as Lohengrin leaves, his boat now drawn by a white dove.

10 Der Ring des Nibelungen – WWV 86 The Ring of the Nibelung

Der Ring des Nibelungen / The Ring of the Nibelung is a complex of four parts opera cycle. It is a „Bühnenfestspiel für drei Tage und einen Vorabend“ / "A stage-festival play for three days and a preliminary".

Ante-evening: Das Rheingold / The Rhine Gold – WWV 86a First day: Die Walküre / The Valkyrie – WWV 86b Second day: Siegfried – WWV 86c Third day: Götterdämmerung / The dusk of the gods – WWV 86d

Das Rheingold / The Rhine Gold – WWV 86a Der Ring des Nibelungen / The Ring of the Nibelung (Ante-evening)

Opera in 4 Scenes

Total time ca. 2 1/3 Hours

Premiere: 22.09.1869 (National theatre Munich)

Cast of recording

Badische Staatskapelle und Staatsopernchor - Günter Neuhold Wotan-John Wegner, Fricka-Wilja Ernst-Mosuraitis, Donner-Tero Hannula, Froh-Mario Muraro, Loge-Hans-jörg Weinschenk, Albrich- Oleg Bryjak, Mime-Michael Nowak, Fasolt- Simon Yang, Fafner-Malcolm Smith, Freia-Ruth Floeren, Erda-Mette Ejsing, Woglinde-Doris Brüggemann, Wellgunde-Ruxandra Voda, Flußhilde-Wilja Ernst-Mosuraitis Recorded 1995

Libretto by Richard Wagner.

Roles:

Die Rheintöchter / The Rhine maidens: • Woglinde (Soprano) • Wellgunde (Mezzo-Soprano) • Flosshilde (Alto) Götter / Gods: • Wotan (Bariton) - der Göttervater / Father of the Gods • Donner (Bariton) • Froh (Tenor) • Loge (Tenor) • Fricka (Mezzo-Soprano) • Freia (Sopran0) • Erda (Alto) Die Nibelungen / The Nibelungs: • Alberich (Bariton) • Mime (Tenor) • Nibelungen / Nibelungs (stumme Rollen / silent roles) • Riesen / Giants: • Fasolt (Bass) • Fafner (Bass)

Synopsis:

In writing Das Rheingold, Wagner wove 3 seemingly unrelated stories to create the prologue for the Ring. The stories all come from the Prose Edda. The three stories are the Andvari story (the "Lay of Regin" in the Elder Edda and "The Otter's Ransom" in the Saga of the Volsungs), the builder story, and the Apples of Idun (in the Prose Edda the stories are not broken up into separate tales).

11 First Scene Three Rhine maidens swim about singing merrily as they guard the gold. The Nibelung dwarf Alberich appears and attempts to interest the maidens in his charms. They tease him by pretending to flirt with him and proceed to ridicule his appearance and his lust for them. The sun breaks out and illuminates the piece of raw gold, which lights up the dark Rhine bottom. When Alberich inquires about the gold, the maidens tell him it is their duty to guard the Rhine gold, which has a magical power. The power allows anyone who renounces love to forge it into a ring, which will grant world domination to the possessor. But the gold is presumably safe since no one would renounce love, especially not a dwarf inflamed by lust. Alberich, who has been deterred in his clumsy attempts at winning the love of the Rhine maidens, sees the chance to satisfy his desires through power. He grabs the gold, renounces love, and scurries off to forge it into the Ring.

Second Scene Fricka awakens and sees a large castle in the foreground. She wakes her husband Wotan and points out that construction of their new castle has been completed. She hopes he will settle down and cease his wandering and his infidelities. He replies that as king of the gods he must continue to increase his experience and powers and continue is wanderings. Fricka reminds Wotan of the bargain he struck with the two giants, Fasolt and Fafner, who built the castle. In return for their labor, Wotan has pledged to the giants Fricka’s sister Freia, the goddess of love. Wotan made this bargain after Loge, a god that Wotan befriended, promised to find a way out of the bargain with the giants. Freia runs in, begging for protection from the giants who have come to claim her as their wage. Wotan tells them to name another price; surely they didn’t really expect the gods to give Freia as the payment. The giants chastise Wotan for trying to take advantage of them and point out that as the god of contracts he is especially bound to honor them. Fasolt has also fallen in love with Freia. Her brothers, Froh and Donner threaten the giants with violence, but Wotan stops them, saying there must be no violence. As the giants prepare to take Freia away, Loge appears from a blast of fire. He reports that the castle has been inspected and is flawlessly built. Wotan demands to know whether a substitute payment has been found for the giants. Loge states that he has searched the world and found nothing that is valued more highly than a woman’s love. The only exception to this is Alberich who stole the Rhine gold, forged a Ring of power, and began amassing a fortune. Loge also states that the Rhine maidens have appealed for Wotan’s aid in restoring their gold. Wotan replies that he has his own troubles without worrying about the Rhine maidens, but he does become interested in the Ring’s power. Fricka wonders if a woman might use the Ring; Loge tells her that it would keep a husband’s attention from wandering. The giants decide they will settle for Alberich’s treasure if it is sufficient to hide Freia’s beauty. To ensure the delivery of the ring they will take her hostage and return that evening for the treasure. As they leave, the gods’ powers begin to fade. Loge realizes that their immortality depends on the golden apples that only Freia can grow and nourish. Now there is no choice for Wotan and Loge. They will go to the dwarf’s home in Nibelheim and try to wrest the ring from Alberich to restore the gods’ power.

Third Scene Mime, Alberich’s brother, has been working on a magical Tarnhelm, at Alberich’s behest. Mime is attempting to invoke the magic of the Tarnhelm when Alberich appears. He takes the Tarnhelm, and casts a spell, which makes him invisable. He beats Mime unmercifully and goes off to terrorize the other Nibelungs into working harder and longer. Wotan and Loge walk in as Mime is moaning about his lot. Mime relates how Alberich has used the power of the Ring to enslave the Nibelungs and force them to amass him a great treasure that he will use to rule the world. Alberich reappears with several slaves and, brandishing the Ring, sends the Nibelungs back to work. He tells the gods of his plans to master the universe through the power of the Ring. He boasts that the Tarnhelm can give him any shape he wishes. When Loge challenges him to demonstrate, Alberich transforms himself into a dragon. Loge and Wotan act impressed at the site. Then, Loge slyly asks if he can become as small as a toad, and Alberich obliges. The gods capture Alberich in this form and take him away to the mountaintop.

Fourth Scene Alberich is forced to have the treasure brought up to the gods as ransom. He holds back the Ring, confident that if he keeps it he can rebuild his treasure hoard. However, when Wotan forcibly takes the Ring; Alberich lays a curse of death upon anyone who shall possess it until it is returned to him. The giants return with Freia and demand that the hoard be measured up against her. Loge and Fasolt stack the gold up to cover Freia. Fafner spots one of Friea’s hairs and demands that the Tarnhelm be used to cover it up. When Fasolt can still see her eye though a chink in the gold, Fafner demands the Ring to fill the gap. Wotan refuses to relinquish the Ring. Suddenly a mysterious woman appears. Her name is Erda and she tells Wotan of the tragic fate impending and warns him to give up the Ring. He reluctantly throws it on the pile. Immediately the giants quarrel over how to split the treasure, and Fafner kills Fasolt over the ring. As Fafner carries off the treasure, Loge and Fricka congratulate Wotan on gaining the castle, settling with the giants and removing an enemy in the process. Wotan ponders the ill fortune that the castle has caused so far, and resolves to visit Erda again to learn more of his ensuing fate. Donner summons a quick storm to clear the air, and Froh conjures a rainbow bridge to the castle’s entrance. Wotan leads the gods into the castle, naming it Valhalla. As they ascend, the Rhine maidens bewail their lost gold. Loge, disgusted with Wotan’s lack of compassion to the Rhine maidens, tells them to bask in the radiance of the gods instead. He is not sure he wishes to follow these gods to their fate or to burn them right now and end the cycle before it starts.

12 Die Walküre / The Valkyrie – WWV 86b Der Ring des Nibelungen / The Ring of the Nibelung (First day)

Opera in 3 Acts

Total time ca. 4 1/2 Hours

Premiere: 26.06.1870 (National theatre Munich)

Cast of recording

Badische Staatskapelle und Staatsopernchor - Günter Neuhold Edward Cook - Siegmund, Frode Olsen - Hunding, John Wegner - Wotan, Gabriele Maria Ronge - Sieglinde, Zlatomira Nikolova - Fricka, Carla Pohl - Brünnhilde, Margaret Chalker - Helmwige, Claudia Egler – Gerhilde Recorded 1995

Libretto by Richard Wagner.

Roles: Menschen / Humans: • Siegmund (Tenor) - ein Wälsung / a Volsung • Sieglinde (Soprano) - Siegmunds Schwester, Hundings Frau / Siegmund's sister, • Hunding's wife • Hunding (Bass) - Verbündeter des Geschlechts der Neidinge / Ally of the Neidings Götter / Gods: • Wotan (Bariton) - der Göttervater / Father of the Gods • Fricka (Mezzo-Soprano) - Wotans Gattin, Göttin der Ehe / Wife of Wotan, Goddess of • marriage • Froh (Tenor) • Loge (Tenor) • Fricka (Mezzo-Soprano) • Freia (Sopran0) • Erda (Alto) Die Walküren / The Valkyries: • Brünnhilde (Soprano) - Wotans Tochter / daughter of Wotan • Helmwige (Soprano) • Gerhilde (Soprano) • Ortlinde (Sopran) • Waltraute (Mezzo-Soprano) • Siegrune (Mezzo-Soprano) • Rossweisse (Mezzo-Soprano) • Grimgerde (Alto) • Schwertleite (Alto) • Synopsis:

Act 1

Before a thunderstorm Siegmund seeks shelter in a hut, where he cared for Hunding's wife Sieglinde and feels strangely attracted to the stranger at the same time. Siegmund now tells his life story - he was separated early from mother and twin sister and had restless roam with the Father the woods - and reported that he had just tried to help a young woman who was forced by her family to marry an unloved man. Hunding recognizes that Siegmund is the man he is to pursue at the behest of his relatives, but on this night enjoys the stranger hospitality. Before she goes to sleep, Sieglinde Siegmund makes on an ash tree in the middle of the living room carefully, in whose trunk a sword sticks, which have pushed a mysterious stranger at her wedding and who was strong enough to protract it, it should have. Sieglinde has given her husband a sleeping potion , and in the night she and Siegmund are a couple, even though they know at the same time that they are twins, fathered by Wotan with a woman from the family of the Volsungs. Siegmund now also gains the sword that he called Excalibur, and together with his sister, he rushes out.

13 Act 2 High in the mountains, Wotan tells his warrior daughter, the Valkyrie Brünnhilde, that she must defend his mortal son Siegmund in his upcoming battle with Hunding. She leaves joyfully to do what he has asked, as Fricka, Wotan’s wife and the goddess of marriage, appears. Fricka insists that Wotan must defend Hunding’s marriage rights against Siegmund. She ignores his argument that Siegmund could save the gods by winning back the Nibelung Alberich’s all-powerful ring from the dragon Fafner. When Wotan realizes he is caught in his own trap— he will lose his power if he does not enforce the law—he submits to his wife’s demands. After Fricka has left, the frustrated god tells the returning Brünnhilde about the theft of the Rhinegold and Alberich’s curse on it. Brünnhilde is shocked to hear her father, his plans in ruins, order her to fight for Hunding. Siegmund comforts his fearful bride and watches over her when she falls asleep. Brünnhilde appears to him as if in a vision, telling him he will soon die and go to Valhalla. He replies that he will not leave Sieglinde and threatens to kill himself and his bride if his sword has no power against Hunding. Moved by his steadfastness, Brünnhilde decides to defy Wotan and help Siegmund. Siegmund bids farewell to Sieglinde when he hears the approaching Hunding’s challenge. The two men fight and Siegmund is about to be victorious, when Wotan appears and shatters Siegmund’s sword, leaving him to be killed by Hunding. Brünnhilde escapes with Sieglinde and the broken weapon. Wotan contemptuously kills Hunding with a wave of his hand and leaves to punish Brünnhilde for her disobedience.

Act 3 Brünnhilde’s eight warrior sisters have gathered on their mountaintop, bearing slain heroes to Valhalla. They are surprised to see Brünnhilde arrive with a woman, Sieglinde. When they hear she is fleeing Wotan’s wrath, they are afraid to hide her. Sieglinde is numb with despair until Brünnhilde tells her she bears Siegmund’s child. Now eager to be saved, she takes the pieces of the sword from Brünnhilde, thanks her, and rushes off into the forest to hide from Wotan. When the god appears, he sentences Brünnhilde to become a mortal woman, silencing her sisters’ objections by threatening to do the same to them. Left alone with her father, Brünnhilde pleads that in disobeying his orders she was really doing what he wished. Wotan will not give in: she must lie in sleep, a prize for any man who finds her. She asks to be surrounded in sleep by a wall of fire that only the bravest hero can pierce. Both sense this hero must be the child that Sieglinde will bear. Sadly renouncing his daughter, Wotan kisses Brünnhilde’s eyes with sleep and mortality before summoning Loge, the god of fire, to encircle the rock. As flames spring up, the departing Wotan invokes a spell defying anyone who fears his spear to brave the flames.

Siegfried – WWV 86c Der Ring des Nibelungen / The Ring of the Nibelung (Second day)

Opera in 3 Acts

Total time ca. 4 1/2 Hours

Premiere: 16.08.1876 (Bayreuth)

Cast of recording

Badische Staatskapelle und Staatsopernchor - Günter Neuhold Wolfgang Neumann - Siegfried, Hans-Jörg Weinschenk - Mime, John Wegner - Wanderer, Oleg Bryjak - Alberich, Simon Yang - Fafner, Ortrun Wenkel - Erda, Carla Pohl - Brünnhilde, Tiny Peters – Waldvogel Recorded 1995

Libretto by Richard Wagner.

Roles: • Siegfried (Tenor) - Illegitimate son of the Volsungs Sieglinde and Siegmund and thus the grandson of Wotan • Mime (Tenor) - Weiser Schmied, Alberichs Bruder/ Blacksmith, Alberich's brother • Wotan (Bariton) - der Göttervater / Father of the Gods • Alberich (Bass) - Brother Mime, Raiders of the Rhinegold, the owner of the magic ring and the Tarnhelm • Fafner (Bass) - Giant, brother of the giant Fasolt • Erda (Alt) - Mother of the Norns • Brünnhilde (Sopran) - Daughter of Wotan and Erda. Wotan's favorite daughter and preferred Valkyrie • Stimme des Waldvogels / Voice if the forest bird (Sopran)

14 Synopsis:

Act 1

In his cave in the forest, the dwarf Mime forges a sword for his foster son Siegfried. He hates Siegfried but hopes that the boy will kill the dragon Fafner, who guards the Nibelungs’ treasure, so that Mime can take the all-powerful ring from it. Siegfried arrives and smashes the new sword, raging at Mime’s incompetence. Having realized that he can’t be the dwarf’s son, as there is no physical resemblance between them, he demands to know who his parents were. For the first time, Mime tells Siegfried how he found his mother, Sieglinde, in the woods, who died giving birth to him. When he shows Siegfried the fragments of his father’s sword, Nothung, Siegfried orders Mime to repair it for him and rushes out.

As Mime sinks down in despair, a stranger enters. It is Wotan, lord of the gods, in human disguise as the Wanderer. He challenges the fearful Mime to a riddle competition, in which the loser forfeits his head. The Wanderer easily answers Mime’s three questions about the Nibelungs, the giants, and the gods. Mime in turn knows the answers to the traveler’s first two questions but gives up in terror when asked who will repair the sword Nothung. The Wanderer admonishes Mime for enquiring about faraway matters when he knows nothing about what closely concerns him. Then he departs, leaving the dwarf’s head to “him who knows no fear” and who will re- forge the magic blade.

When Siegfried returns demanding his father’s sword, Mime tells him that he can’t repair it. He vainly tries to explain the concept of fear to the boy and, in order to teach him, proposes a visit to Fafner’s cave. Siegfried agrees and enthusiastically begins to forge the sword himself. While he works, Mime prepares a sleeping potion to give to Siegfried once he has killed Fafner. Flashing the finished sword, Siegfried smashes the anvil in half and runs off into the forest.

Act 2

Senta sits apart from the other girls who are singing as they spin, and gazes dreamily at a portrait on the wall. Her nurse Mary tries to distract her, while the girls jeer, warning that her sweetheart, the hunter Erik, will be jealous.

Senta sings the ballad of the Flying Dutchman - telling how, battling against a storm, he once swore to sail round a cape if it took him all eternity. Satan took him at his word and he had been cursed to wander the seas forever unless he could find a woman who would be faithful to him till death.The girls echo Senta's prayer that the wanderer will soon find rest and redemption. She hopes she will be the woman chosen to save him. Her prayer that an angel will soon bring him to her is overheard by Erik.

His announcement of the arrival of the ship sends the girls off to greet their sweethearts, but he detains Senta, who is eager to see her father, and begs her to agree to their marriage before her father sails again. When she evades the question, he blames her obsession with the portrait. He is reminded of a dream in which he saw Daland returning from a voyage accompanied by a strange man who resembled the figure in the portrait. In the dream Senta had embraced the stranger and both had vanished over the sea. The only effect his narrative has on Senta is to convince her that the Flying Dutchman has come for her.

The dejected Erik leaves and Daland arrives with the Dutchman, whom Senta recognises with a cry - virtually ignoring her father, who is disconcerted by her lack of welcome. He presents the stranger, stressing his homelessness and his wealth, first asking Senta to give him hospitality, but moving on quickly to offer her the newcomer as a bridegroom. Neither Senta nor the Dutchman speaks so much as a single word and Daland leaves them alone together. They gaze at one another, wrapped in their own thoughts, both feeling that this is the moment they have been waiting for. The Dutchman asks if she consents to her father's choice, and she accepts him, promising to be faithful till death. When Daland returns, they pledge their faith before him.

Act 3

High on a mountain pass, the Wanderer summons Erda, goddess of the Earth, to learn the gods’ fate. She evades his questions, and he resigns himself to the impending end of the gods’ reign. His hope now rests with Brünnhilde and Siegfried. When Siegfried approaches, making fun of the god whom he takes for a simple old man, the Wanderer attempts to block his path. With a stroke of his sword, Siegfried shatters the Wanderer’s spear—the same spear that smashed Nothung to pieces years before. Defeated, the Wanderer retreats.

Siegfried reaches the mountaintop where Brünnhilde sleeps. Never having seen a woman before, he thinks he has discovered a man. When he removes Brünnhilde’s armor, he is overwhelmed by the sight of her beauty and finally realizes the meaning of fear. Mastering his emotions, he awakens her with a kiss. Hailing the daylight, Brünnhilde is overjoyed to learn that it is Siegfried who has brought her back to life. She tries to resist his declarations of passion, realizing that earthly love must end her immortal life, but finally gives in and joins Siegfried in praise of love.

15 Götterdämmerung / The dusk of the gods – WWV 86d Der Ring des Nibelungen / The Ring of the Nibelung (Third day)

Opera in 3 Acts

Total time ca. 5 Hours

Premiere: 17.08.1876 (Bayreuth)

Cast of recording

Badische Staatskapelle und Staatsopernchor - Günter Neuhold Siegfried-Edward Cook, Gunther-Bodo Brinkmann, Alberich-Oleg Bryjak, Hagen-Markku Tervo, Brünnhilde-Carla Pohl, Gutrune-Gabriele Maria Ronge, Waltraute-Zlatomira Nikolova, 1.Norn-Ortrun Wenkel, 2.Norn-Zlatomira Nikolova, 3.Norn-Gabriele Maria Ronge, Woglinde- Doris Brüggemann, Wellgunde-Ruxandra Vota, Floßhilde-Wilja Ernst-Masuraitis Recorded 1995

Libretto by Richard Wagner.

Roles: • Siegfried (Tenor) - ein Wälsung / the Volsung • Gunther (Bariton) - ein Gibichung / the Gibichung • Gutrune (Sopran) - Gunthers Tochter / Gunther's daughter • Hagen (Bass) - Gunthers Halbbruder / Gunthers's half-brother • Alberich (Bariton) - a Nibelung, tyrannical dwarf king • Brünnhilde (Soprano) - Tochter von Wotan / daughter of Wotan • Waltraute (Mezzo-Soprano) - eine Walküre / a Valkyrie • Norns, daughters of the Goddess of Fate: First Norn (Alto), Second Norn (Mezzo- Soprano), Third Norn (Soprano) • Die drei Rheintöchter / Rhinemaidens: Woglinde (Sopran), Wellgunde (Mezzo-Soprano), Flosshilde (Alto) • Chorus - Frauen, Mannen / Woman, Vassals

Synopsis: German mythology.

Prelude On the Valkyrie rock the three Norns, daughters Erdas spiders, the golden rope of fate. From their conversation shows that Wotan has decided the downfall of the gods. He has brought the world to wither and ash created from its wood a mighty pyre to Valhalla. Once he learns that Siegfried has returned the Ring of the Nibelung in the Rhine daughters, he will put the castle on fire. The rope breaks, the Norns dive into the depths. Brünnhilde and Siegfried appear. After Liebestaumel it urges the hero to action. He leaves Brünnhilde the ring, this gives him her horse Grane, and then they say goodbye.

Act 1 At the Gibichung castle, he encounters Gunther, Gunther’s sister Gutrune, and their half-brother Hagen (whose father is Alberich). Urged on by Hagen, Gunther and Gutrune give Siegfried a drink that makes him forget Brünnhilde and fall in love with Gutrune. Once the potion has worked, Gunther tells Siegfried about the goddess enclosed by flames and asks for Siegfried’s help in winning her. In return, Gunther pledges to allow Siegfried to marry Gutrune. No longer remembering Brünnhilde, Siegfried agrees. Brünnhilde, back at her mountain home, refuses the plea of her sister Waltraute to relinquish the ring given to her by Siegfried. Disguised as Gunther, Siegfried comes through the flames, takes the ring from Brünnhilde, and claims her as Gunther’s bride.

Act 2 When the true Gunther takes her back to the Gibichungs and she sees Siegfried, Brünnhilde’s rage knows no bounds. Siegfried swears on Hagen’s spear that he does not know her, and Brünnhilde swears that Hagen’s spear will avenge her. She and Hagen convince Gunther to plan Siegfried’s death.

Act 3 The next day, at a hunt organized by Gunther, Siegfried tells his life story to the other men. Hagen gives him a drink that restores his memory. When Siegfried sings of Brünnhilde, Hagen stabs him in the back with his spear. The hunting party returns and Brünnhilde sees Siegfried’s body, whereupon she resolves to return the ring to the Rhine and end its curse. She takes the ring from Siegfried’s hand and plunges into his funeral pyre. The funeral flames spread to burn Valhalla and destroy the gods. The ring is restored to the Rhine, and Brünnhilde’s sacrifice begins the world afresh.

16 Tristan and Isolde – WWV 90

Dramatic Opera in 3 Acts

Total time ca. 4 Hours

Premiere: 10.06.1865 (National theatre Munich)

Cast of recording

Berliner Philharmoniker - Herbert von Karajan, Chor der Deutschen Staatsoper Berlin-Walter Hagen-Groll, Isolde (Sopran) - Helga Dernesch, Tristan (Tenor) - Jon Vickers, Brangäne (Mezzo-Sopran) - Christa Ludwig, Kurwenal (Bariton) - Walter Berry, König Marke (Bass) - Karl Ridderbusch, Melot (Bariton) - Bernd Weikl, Seemann & Hirt (Tenor) - Peter Schreier Recorded 1972

Libretto by Richard Wagner.

Roles: • Tristan (Tenor) - Bretonischer Fürst / a Breton nobleman, adopted heir of Marke • Isolde (Soprano) - an Irish princess betrothed to Marke • König Marke (Bass) - König von Cornwall / King of Cornwall • Kurwenal (Bariton) - Tristans Diener / Tristan's servant • Melot (Tenor/Bariton) - ein Höfling, Tristans Freund / a courtier, Tristan's friend • Brangäne (Mezzo-Soprano) - Isoldes Dienerin / Isolde's maid • Ein Hirte (Tenor) / A shepherd • Ein Steuermann / A steersman (Bariton) • Ein junger Seemann / A young sailor (Tenor) • Chorus - Sailors, knights, and esquires

Synopsis:

Act 1 - At sea on the deck of Tristan’s ship, on the voyage from Ireland to Cornwall. Tristan is taking Isolde (who had once saved his life and who is now, so she believes, unrequitedly in love with him) to Cornwall, where she is to be married, unwillingly, to Tristan’s uncle, King Marke. Beholding his apparent indifference and in fury at his treachery, she resolves to kill him and herself, using one of her mother’s secret potions, which she bids her companion Brangäne to fetch. Brangäne, however, deceives her by producing a love potion instead. Summoning Tristan, Isolde pretends to accept her fate and proposes that they drink to each other in a pact of friendship. Though perceiving her deception, he accepts. Expecting death, they gaze, love-struck, into each other’s eyes, and ecstatically embrace. As sailors’ shouts announce their journey’s end, Brangäne confesses her subterfuge and Isolde faints in Tristan’s arms.

Act 2 - King Marke’s castle in Cornwall. The king and his retinue have set off on a hunting party. As night falls, Isolde, seizing the opportunity for a rendezvous with Tristan, and ignoring the anxieties of Brangäne, extinguishes the warning torch, signalling the all- clear, and rapturously awaits his arrival. Deluded by passion into believing that darkness confers safety, honesty and true perception, the lovers lay their troubled past to rest, Isolde now able to understand the ‘daylight’ conventions that bound Tristan to his course in abducting her to Cornwall. When Brangäne confesses her unease, distraught that her switching of the potions has unleashed potential tragedy, Isolde assures her that her hand was guided by the power of true love, which rules all destiny. The lovers welcome the prospect of death, which will give them the total union and safe removal they crave. Their nocturnal dream is shattered by the return of Marke and his party, tipped off by a jealous ‘friend’, Melot, who denounces the lovers. After a surprisingly philosophical speech by the king, Tristan is allowed to return to Brittany, the land of his birth. But not before the enraged Melot seriously wounds him.

Act 3 - Outside Tristan’s castle in Brittany. Tristan lies outside his castle by the sea, apparently lifeless. When a shepherd, posted as a look-out, pipes a sad refrain, Tristan stirs. Kurwenal, his faithful squire, informs him that he has despatched a ship to fetch Isolde from Cornwall, for she alone, with her magic arts, can save him. When at last it arrives – and after long, delirious ravings, fuelled by pain and nourished by visions of Isolde – Tristan, in agony, rises to greet her, fatally tearing the bandage from his wound. Reunited in each other’s arms, they share one final, love-locked gaze before Tristan sinks back lifeless on his couch. Tumultuous noises announce the arrival of a second ship, bearing Marke and his men, evidently in hot pursuit. In the ensuing mêlée, the ever-faithful Kurwenal is killed, never learning that Brangäne has informed the king of the love-potion and that he has arrived bearing forgiveness to them both. Isolde is now beyond hearing, beyond caring. In the famous Liebestod she sings with mounting rapture of joining her lover in death, before sinking, herself, lifeless on his corpse.

17 Die Meistersinger von Nürnberg / The Mastersingers of Nuremberg – WWV 96

Dramatic Opera in 3 Acts

Total time ca. 4 1/3 Hours

Premiere: 21.06.1868 (National theatre Munich)

Cast of recording Chor & Orchester der Beyreuther Festspiele – Herbert von Karajan Otto Edelmann (Bariton) - Hans Sachs, Walther von Stolzig (Tenor) - Hans Hopf, Elisabeth Schwarzkopf (Soprano) - Eva, Erich Kunz (Bariton) - Beckmesser, Frederick Dalberg (Bass) - Pogner, Gerhard Unger (Tenor) - David, Ira Malaniuk (Mezzo-Soprano) - Magdalene, Heinrich Pflanzl (Bass) - Kothner, Erich Majkut (Tenor) - Vogelsang, Hans Berg (Bass) - Nachtigall, Josef Janko (Tenor) - Zorn Recorded 1998

Libretto by Richard Wagner.

Roles: Meistersinger / Master-Singers • Hans Sachs (Bass-Bariton) - Schuster / Shoemaker (cobbler) • Veit Pogner (Bass) - Goldschmied / Goldsmith • Kunz Vogelgesang (Tenor) - Kürschner / Furrier • Konrad Nachtigall (Bass) - Spengler / Tinsmith • Sixtus Beckmesser (Bariton) - Stadtschreiber / Town Clerk • Fritz Kothner (Bass) - Bäcker / Baker • Balthasar Zorn (Tenor) - Zinngießer / Pewterers • Ulrich Eisslinger (Tenor) - Würzkrämer / Spices chandler (grocer) • Augustin Moser (Tenor) - Schneider / Tailor • Hermann Ortel (Bass) - Seifensieder / Soapmaker • Hans Schwarz (Bass) - Strumpfwirker / Stocking weaver • Hans Foltz (Bass) - Kupferschmied / Coppersmith weitere Rollen / other roles • Walther von Stolzing (Tenor) - ein junger Ritter aus Franken / a young knight from Franconia • David (Tenor) - Lehrbube von Hans Sachs / Apprentice of Hans Sachs • Eva (Soprano) - Pogners Tochter / Daughter of Pogner • Magdalene (Mezzo-Soprano) - Evas Amme / Eva's nurse • Ein Nachtwächter / A night watchman (Bass) • Lehrbuben / Apprentices (Alto, Tenor) • Chorus - Bürger und Frauen aller Zünfte, Gesellen, Lehrbuben, Mädchen, Volk / Citizens of all guilds and their wives, journeymen, apprentices, young women, people of Nuremberg

Synopsis:

Germany, Nuremberg, middle of 16th century.

Act 1

Inside of St. Katherine's Church, the choir has just finished singing a lovely prelude. After Mass ends, the young knight, Walther von Stolzing, engages a beautiful young woman named Eva Pogner. The two shared glances earlier that day and it was love at first sight for both. Walther asks her if she is married. Eva tells him that her father, a goldsmith and meistersinger, has arranged to give her hand in marriage to the winner of a song contest organized by the Meistersingers scheduled to take place the following day. Having heard their conversation, Eva's maid, Magdalena, asks her boyfriend David, who is an apprentice to the cobbler and meistersinger Hans Sachs, to teach Walther the ropes of master singing, hoping that Walther may enter the singing contest and win the hand of his beloved. David beings to instruct Walther, informing him that it takes years of practice to achieve master singing. Despite all of the complicated rules and techniques, Walther remains confident.

As the meistersingers begin arriving to set up for their meeting, Eva's father, Veit, and the town clerk, Beckmesser, notice Eva and her new friend, Walther. Beckmesser, who believes to have the competition in the bag, is threatened by Walther, especially when Walther enters the contest. As the meeting commences, Veit 18 reiterates that the winner of the competition will get to marry his daughter. Hans Sachs, mindful of Eva's heart, petitions that Eva should have a say in the matter. Veit agrees and changes the rules - Eva can reject or accept the winner's proposal, but if she rejects, she must marry a meistersinger nonetheless. The new rule is accepted and Walther introduces himself as a natural, self-taught talent. When he begins to sing a striking melody, it is clear he is breaking many rules of composition. Beckmesser is frantically documenting all of Walther's mistakes, while littering Walther's performance with sounds of screeching chalk. Beckmesser stops Walther's song mid-way through and convinces the other meistersingers that it is pointless for Walther to finish - he is clearly not up to par. Hans Sachs tries to advocate for Walther, but Beckmesser snidely tells Sachs to finish making his shoes rather than bending meistersinger policy to admit Walther. Walther storms out of the church, dejected. Er muss ein Probelied singen, das von Beckmesser als dem strengen "Merker" beurteilt werden soll, indem er jeden Fehler mit Kreide auf einer Tafel verzeichnet. Nachdem ihm der würdige Fritz Kothner noch einmal die Regeln der "Tabulatur" erklärt hat, singt Walther ein strahlendes Lied von Liebe und Lenz ("Fanget an - so rief der Lenz in den Wald"), das von Beckmesser durch stetiges Kratzen mit der Kreide gestört und von den Meistern wegen seiner Neuartigkeit völlig missverstanden wird - er hat "versungen und vertan". Während die Meister erregt die Kirche verlassen, bleibt Hans Sachs sinnend zurück - er fühlt, dass dies ein Fehlurteil aus Unverständnis der an die starren Regeln glaubenden Meistersinger ist.

Act 2

Later that evening, David tells Magdalena that Walther failed miserably. Worried, she rushes out to tell Eva. Eva and her father arrive outside of Hans Sachs' shoe shop. Sachs is in his doorway preparing the shoes that Beckmesser ridiculed him for not having finished yet. As he works on the shoes, he hums the song that Walther sang earlier that day and calls David into the shop. Eva, concerned with Walther's outcome, seeks Sachs' wisdom on the situation. She tells him that she'd much rather marry him than Beckmesser, since she knows he's the only one who can win the competition. In order to test her true feelings, he tells her that there is no way for him to defeat Beckmesser, and besides, he would be too old for her anyway. Then, when he starts describing Walther's failure, Eva runs out of his shop angry, confirming his suspicions. On her way out, she bumps into Magdalena who has come to tell her that Beckmesser is on his way to serenade her. Eva instructs Magdalena to pose as Eva in the window so that she can go look for Walther. Just as she departs, Walther arrives and tells her the news of his master singers rejection. They make plans to elope instead, and Hans Sachs overhears. He lights his lantern to illuminate the street, knowing that the young lovers will hide in the shadows. Moments later, Beckmesser arrives to serenade Eva. Magdalena takes her place impersonating Eva in front of the window. Beckmesser, none the wiser, begins to sing his song, but Hans Sachs sings his cobblers song even louder. Beckmesser becomes increasingly irritated, but Sachs claims he must finish the shoes Beckmesser has purchased. Finally, they agree that Sachs only drives nails into the shoes when Beckmesser makes a mistake singing. Beckmesser makes so many mistakes that Sachs finishes his shoes. Meanwhile, all the racket has catches Davids attention. David makes his way to the window and sees Beckmesser singing to Magdalena. He rushes out of the shop and attacks Beckmesser, which catches the attention of the other meistersingers who then join in the fight. When Walther and Eva try to escape, Sachs pulls them apart and puts Eva back inside her home and brings Walther into his shop. The crowd quickly departs when the night watchmen makes his rounds through the neighborhood to announce the time.

Act 3

The following morning, the day of the contest, David arrives in the shoe shop after having delivered Beckmesser's shoes. After apologizing for his behavior, he exits into the back room to recite verses from St. John. Sachs contemplates the previous night's madness and is interrupted by Walther who comes in telling him the dream he had the night before. Sachs is convinced he can turn the story into a song and the two begin writing down the verses. After Walther leaves to get ready for the contest, Beckmesser enters and snoops around. Finding the verses penned by Sachs, the greatest meistersinger the town has ever knew, Beckmesser slips it into his pocket. Sachs sees him swipe the lyrics, but lets him take them anyway. He offers it to Beckmesser as a gift, and tells him that he'll take no claim to it. Self-assured of a guaranteed victory, Beckmesser leaves. Eva soon arrives under the guise of getting a shoe repaired. As she speaks to Sachs, Walther returns dressed in his contest attire. He sings the last verse of his song and Eva couldn't be happier. She apologizes to Sachs for manipulating his feelings, but he forgives her by telling her it would be better for her to marry a young man instead of his old, foolish self. When Magdalena arrives and David greets her, Sachs promotes David and they all join in a song of merriment.

Sachs is greatly applauded when he appears at the contest. He responds by giving a moving thank you speech. The contest begins quickly thereafter, with Beckmesser up first. At the start of the song, Beckmesser is quite confident, but it becomes clear several bars in, that he has no idea what he is doing. He can hardly remember the words, and the ones that he can, he cannot get them to fit into his own melody. Before he can finish, he is laughed off the stage. In a fit of rage, he blurts out that the song wasn't even his own - it belonged to Sachs. The crowd is taken aback. Sachs explains that though he did write the lyrics on paper, they actually belonged to Walther. He convinces them that it is a very good song, but it must be sung by Walther. The crowd, wanting to hear the song, agrees to allow Walther to sing it, despite his lack of experience. When Walther sings the song as it should be, the crowd is overjoyed, and he is awarded the prize of the meistersinger. He starts to decline, but is persuaded by Sachs to accept it. The crowd cheers for the song and their favorite meistersinger, Hans Sachs.

19 Parsifal – WWV 111

Opera in 3 Acts

Total time ca. 4 1/3 Hours

Premiere: 26.07.1882 (Bayreuth)

Cast of recording

Chor & Orchester der Wiener Staatsoper – Christian Thielemann Amfortas - Falk Struckmann, Titurel - Ain Anger, Gurnemanz - Franz-Josef Selig, Parsifal - Plácido Domingo, Klingsor - Wolfgang Bankl, Kundry - Waltraut Meier, 1.Gralsritter - Benedikt Kobel, 2.Gralsritter - In-Sung Sim, Knappen: Daniela Denschlag, Janina Baechle, John Dicke, Peter Jelosits, Blumenmädchen : Inna Los, Bori Keszei, Antigone Papoulkas, Simina Ivan, Ildikó Raimondi, Nadika Krasteva, Stimme aus der Höhe - Janina Baechle Recorded 2006

Libretto by Richard Wagner.

Roles:

• Amfortas (Bariton) - Gralskönig / King of the Grail • Titurel (Bass) - Amfortas’ Vater / Father of Amfortas • Gurnemanz (Bass) - Gralsritter / Grail knights • Parsifal (Tenor) • Klingsor (Bass) • Kundry (Sopran / Mezzo-Soprano) • Zwei Gralsritter / Rwo Knights(Tenor und Bass) • Vier Knappen / Four Squires (Soprano und Tenor) • 6 Klingsors Zaubermädchen / Klingsor's magic girls (Soprano, Alto) • Stimme aus der Höhe / Voice from Above (Alto) • Chor / Chorus - Zaubermädchen (Soprano, Alto), Bruderschaft der Gralsritter (Tenor, Bass), Jünglinge und Knaben (Tenor, Soprano, Alto) / Magic girls (Soprano, Alto), Brotherhood of the Grail knights (Tenor, Bass), Young men and boys (Tenor, Soprano, Alto) • Synopsis:

Place: the castle of Monsalvat in the mountains in the north of Spain, and Klingsor's magic palace in the south of Spain.

Act 1

A forest near the castle of the brotherhood of the Holy Grail. The old knight Gurnemanz and two esquires perform their morning prayers, while other knights prepare a bath for their ailing ruler Amfortas, who suffers from an incurable wound. Suddenly Kundry appears, a mysterious, ageless woman, who serves as the Grail’s messenger. She has brought medicine for Amfortas. The king is carried in. He reflects on a prophecy that speaks of his salvation by the hands of a “pure fool, enlightened by compassion,” then is borne off. When the esquires ask about Klingsor, a sorcerer who is trying to destroy the knights of the Grail, Gurnemanz tells the story of Amfortas’s wound: the Holy Grail, the cup Christ drank from at the Last Supper, and the spear that pierced his body on the cross were given into the care of Titurel, Amfortas’s father, who assembled a company of knights to guard the relics. Klingsor, wishing to join the brotherhood, tried to overcome his sinful thoughts by castrating himself but was rejected. Seeking vengeance, he built a castle across the mountains with a magic garden full of alluring women to entrap the knights. Amfortas set out to defeat Klingsor, but was himself seduced by a “terribly beautiful woman” and stabbed by Klingsor with the holy spear, which he then took from Amfortas. The wound can only be healed by the innocent youth the prophecy has spoken of. Suddenly a swan plunges to the ground, struck dead by an arrow. The knights drag in a young man, who boasts of his archery skills. He is ashamed when Gurnemanz rebukes him, but he cannot explain his violent act or even state his name. All he remembers is his mother, Herzeleide, or “Heart’s Sorrow.” Kundry tells the youth’s history: his father died in battle and his mother reared the boy in a forest, but now she too is dead. Gurnemanz leads the nameless youth to the castle, wondering if he may be the prophecy’s fulfillment.

20 The knights assemble in the hall of the castle. Titurel bids Amfortas uncover the Grail to give strength to the brotherhood, but Amfortas refuses: the sight of the chalice increases his anguish. Titurel orders the esquires to proceed, and the chalice casts its glow about the hall. The nameless youth watches in astonishment but understands nothing. The ceremony ended, Gurnemanz, disappointed and angry, drives him away as an unseen voice reiterates the prophecy.

Act 2

In his castle, Klingsor summons Kundry, who, under his spell, is forced to lead a double existence, to seduce the young fool. Having secured the spear, Klingsor now seeks to destroy the youth, whom he knows can save the knights of the Grail. Hoping for redemption from her torment, Kundry protests in vain.

The nameless youth enters Klingsor’s magic garden. Flower maidens beg for his love but he resists them. The girls withdraw as Kundry, transformed into a beautiful young woman, appears and addresses him by his name— Parsifal. He realizes that his mother once called him so in a dream. Kundry begins her seduction by revealing memories of Parsifal’s childhood and finally kisses him. Parsifal suddenly feels Amfortas’s pain and understands the idea of compassion: he realizes that it was Kundry who brought about Amfortas’s downfall and that it is his mission to save the brotherhood of the Grail. Astonished at his transformation, Kundry tries to arouse Parsifal’s pity by telling of the weary life she has been forced to lead ever since she laughed at Christ on the cross, but he resists her. She curses him to wander hopelessly in search of the knights of the Grail and calls on Klingsor for help. The magician appears and hurls the holy spear at Parsifal, who miraculously catches it in midair, causing Klingsor’s realm to perish.

Act 3

Gurnemanz, now very old and living as a hermit near the Grail’s castle, finds the penitent Kundry exhausted in the forest. A strange knight approaches and Gurnemanz recognizes Parsifal bearing the holy spear. Parsifal describes his years of wandering, trying to find his way back to Amfortas and the Grail. Gurnemanz tells him that he has come at the right time: Amfortas, longing for death, has refused to uncover the Grail, the brotherhood is suffering, and Titurel has died. Kundry washes Parsifal’s feet, and Gurnemanz blesses him and proclaims him king. As his first task Parsifal baptizes Kundry. He is struck by the beauty of nature around them and Gurnemanz explains that this is the spell of Good Friday. The distant tolling of bells announces the funeral of Titurel, and the three make their way to the castle.

Knights carry the Grail, Amfortas on his litter, and Titurel’s coffin into the Hall of the Grail. Amfortas is unable to perform the rite. He begs the knights to kill him and thus end his anguish—when suddenly Parsifal appears. He touches Amfortas’s side with the spear and heals the wound. Uncovering the Grail, he accepts the homage of the knights as their redeemer and king and blesses them. The reunion of the Grail and spear has saved the community.

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