Peter Hofmann (Agosto 22, 1944-Noviembre 30, 2010)

Total Page：16

File Type：pdf, Size：1020Kb

OBITUARIO Peter Hofmann (Agosto 22, 1944-Noviembre 30, 2010) por Ingrid Haas l conocido Heldentenor alemán murió de neumonía y complicaciones del mal de Parkinson a sus E66 años en un hospital en Wunsiedel, Bavaria. Comenzó su carrera como cantante de rock y después se dedicó a cantar ópera, dándose a conocer como tenor wagneriano y participando en varias funciones memorables alrededor del mundo. Fue un celebrado Lohengrin en la ópera homónima de Wagner, así como un heroico Siegmund en Die Walküre (rol en el cual lo podemos ver en el DVD de la producción de Patrice Chéreau, dirigida por Pierre Boulez). Fue de los primeros cantantes wagnerianos que combinaron una voz potente y apta para tan pesado repertorio con un físico ideal para interpretar a los héroes de la mitología germana. Debemos recordar también su excelente grabación de la ópera Tristan und Isolde bajo la batuta de Leonard Bernstein, su Lohengrin en el Metropolitan Opera House de Nueva York (también disponible en DVD, al lado de Eva Marton como Elsa), dos grabaciones del rol titular de Parsifal (una con Herbert von Karajan y otra en vivo con James Levine en el Festival de Bayreuth), y su Erik en Der Fliegende Holländer dirigido también por Karajan. Bajo la batuta de Georg Solti, grabó el rol de Florestan en Fidelio de Beethoven en 1979. Nacido en Marienbad (lo que ahora es Mariánské Lázně, República Checa), empezó su carrera artística como cantante en una banda de rock y luego se unió a la milicia. Durante esta época en el servicio militar, comenzó a estudiar canto en Karlsruhe. Hizo su debut en 1972 cantando el rol de Tamino en Die Zauberflöte en Lübeck. A este debut siguieron funciones en Londres, Viena, Chicago, Stuttgart, París y San Francisco. Cantó innumerables funciones en el Festival de Bayreuth y fue ahí donde se lanzó a la fama en 1976, cantando el Siegmund. En 1990, Hofmann interpretó al personaje principal del musical de Andrew Lloyd Webber, Das Phantom der Oper (El Fantasma de la Ópera), estrenando esta obra en Hamburgo. Hizo 300 funciones de dicho rol, pero se retiró en 1994 a causa de la enfermedad de Parkinson, con la que batalló hasta su muerte. Le Foto: Winnie Klotz sobreviven su esposa y sus tres hijos. o Peter Hofmann 62 pro ópera.

Copy Link

Recommended publications

Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
[Show full text]
Gmoi Blaa(D'l
Gmoi Blaa(d'l 63 Eghalanda Gmoi z' Ingolstadt e.V. ____________________________________________________________________________________ 63. Jahrgang Nr. 03 Herbst 2017 320. Folge G G AS UNNARA GMOI Bekanntmachungen – Veranstaltungen –Hinweise Terminvorschau 09.09.2017 Nacht der Museen in Ingolstadt 10.09.2017 70-j. Gründungsfest „Almenrausch und Edelweiß“ Lenting 16.09.2017 Stricknachmittag 14:00 Uhr 17.09.2017 Oktoberfestumzug in München 23.09.2017 Herbstfestumzug in Ingolstadt 01.10.2017 Falkenauer Heimattreffen in Schwandorf 07.10.2017 Stricknachmittag 14:00 Uhr 15.10.2017 Kirwatanz im Vereinsheim 14:00 Uhr 04.11.2017 Stricknachmittag 14:00 Uhr 02.12.2017 Stricknachmittag 14:00 Uhr 16.12.2017 Weihnachsfeier im Vereinsheim 14:30 Uhr 06.01.2018 Jahreshauptversammlung mit Neuwahlen 12.02.2018 Kappennachmittag ************************************************************************************** Für offene Fragen, Informationen und Anregungen, stehen wir gerne zur Verfügung: 1. Vüa(r)stäiha Kindl Helmut 0173/9572345 2. Vüa(r)stäiha Fischer Erwin 0841/67424 3. Vüa(r)stäiha Spielvogel Wilfried 0841/67599 Kultur-und Trachtenwartin Trübswetter Elke 08450/1851 Umgöldner und Orgaleitung Kopetz Andrea 0841/54798 Mitgliederbetreuung Riedl Ursula 0841/86806 Mitgliederverwaltung Kracklauer Silke 0841/8855243 Gmoischreiwa Kindl Sandra 08459/331965 Jugendleiter und Fahnenträger Trübswetter Stefan 08450/3006885 ************************************************************************************** Besucht unsere neue Homepage www.egerlaender-in.de *****************************************************************************************
[Show full text]
The Evolution of the Heldentenor
THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
[Show full text]
LEONARD BERNSTEIN Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
LEONARD BERNSTEIN Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT CONCERTS 3 CYCLES 10 DOCUMENTARIES 12 OPERAS 18 TRIBUTES 18 CONCERTS BEETHOVEN: CHORAL FANTASY, OP. 80 UNITEL Leonard Bernstein/Homero Francesch (piano)/ © Jeunesse-Chor/Wiener Philharmoniker A05500477 | Length: 22 Min. Recording date: 1985 Format: 4:3 | Available file size: 1920x1080 BEETHOVEN: MUSIC FROM “DIE GESCHÖPFE DES PROMETHEUS” Leonard Bernstein/Wiener Philharmoniker BEETHOVEN: CORIOLAN OVERTURE, OP. 62 Leonard Bernstein/Wiener Philharmoniker A05500656 | Length: 25 Min. A05500666 | Length: 12 Min. Recording date: 1978 Recording date: 1981 Format: 4:3 | Available file size: 1920x1080 Format: 4:3 | Available file size: Upon request BEETHOVEN: OVERTURE LEONORE III BEETHOVEN: EGMONT OVERTURE, OP.
[Show full text]
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 1999 – July 2000 .................................................................................................................................................................................. 2 September 2000 – July 2001 ................................................................................................................................................................................ 23 September 2001 – July 2002 ................................................................................................................................................................................ 45 September 2002 – July 2003 ................................................................................................................................................................................ 73 September 2003 – July 2004 ................................................................................................................................................................................ 97 September 2004 – July 2005 .............................................................................................................................................................................
[Show full text]
Meistersinger Resources
DIE MEISTERSINGER VON NÜRNBERG RESOURCES Books Die Meistersinger von Nurnberg (Overture Opera Guides) Author: Richard Wagner. Notes: The guide also includes the full libretto with English translation, sixteen pages of illustrations, a musical thematic guide, a discography, a bibliography and DVD and website guides. English. 300 pages. Overture Publishing. 2015. Die Meistersinger von Nurnberg in Full Score (Dover Music Scores) Author: Richard Wagner. Notes: a reprint of an authoritative and accessible German score from the turn of the twentieth century, the complete orchestral and vocal score, published by Dover Publications; Reprint edition (October 16, 2009). English. 832 pages. Dover Publications. 2009. Die Meistersinger von Nurnberg (G. Schirmer Opera Score Editions) Author: Richard Wagner. Notes: Libretto. German/English. 96 pages. G. Schirmer Libretto 5. 1986. Die Meistersinger von Nurnberg (G. Schirmer Opera Score Editions) Author: Richard Wagner. F Jameson. Notes: orchestral and vocal score. English. 576 pages. G. Schirmer Opera Score Editions. 1986. The Mastersingers of Nuremberg (Die Meistersinger von Nurnberg) (English National Opera Guides) Author: Richard Wagner. Editor: Nicholas John. English. 132 pages. University of Michigan Library. 1983. Richard Wagner and German Opera (Classical Composers) Author: M. Owen Lee. Notes: Childrenʼs book for ages 10 and up. English. 144 pages. Morgan Reynolds Publishing. 2004. Wagner: The Terrible Man and His Truthful Art Author: M. Owen Lee. Notes: The bookʼs author is a Catholic priest and Professor Emeritus of Classics at St. Michael's College, University of Toronto. Lee is also commentator for the Texaco Metropolitan Opera radio broadcasts. English. 96 pages. University of Toronto Press, Scholarly Publishing Division. 1999. Wagner and the Wonder of Art: An Introduction to Die Meistersinger Author: M.
[Show full text]
De Muzikale Geschiedenis Van De Bayreuther Festspiele, Aflevering 23 De 80’Er Jaren Door Johan Maarsingh
De muzikale geschiedenis van de Bayreuther Festspiele, aflevering 23 De 80’er jaren door Johan Maarsingh In de jaren dat de Jahrhundert-Ring op het programma stond, bracht Bayreuth in 1978 een nieuwe productie van Der fliegende Holländer (dirigent: Dennis Russel Davies; regie Harry Kupfer) op de planken. De Holländer werd gezongen door de Amerikaanse bariton Simon Estes die in 1982 nog de rol van Amfortas in de Jahrhunderd-Parsifal zou spelen (https://youtu.be/3CWMbSSFeMo). In 1979 regisseerde Götz Friedrich (1930-2000) een nieuwe productie van Lohengrin. De dirigent die bij deze productie zijn debuut in Bayreuth maakte, was de Nederlander Edo de Waart. Zijn optreden bleef slechts beperkt tot één jaar. De laatste keer dat Lohengrin op het programma had gestaan was 1972 en veel musici hadden inmiddels het orkest verlaten. Er zat dus een orkest dat als geheel minder ervaring had met deze opera. De gekozen zangers zouden niet het verwachte niveau hebben, maar wel goede acteerprestaties hebben geleverd. Toch was Gerard Verlinden Peter Hofmann als Lohengrin in De Telegraaf van 27 juli 1979 erg enthousiast over het debuut van De Waart. Hij had het geheel helemaal in de hand en toen Peter Hofmann (1944-2010) in de rol van Lohengrin in de derde akte vermoeidheidverschijnselen kreeg, hield de dirigent het orkest in. Dit had hij die avond al eerder moeten doen om de sopraan Karan Armstrong (Else von Brabant) te ondersteunen. De Nederlandse radio liet Wagnerliefhebbers in de huiskamer niet meegenieten van deze voorstelling. Uit het verslag dat Hans Heg op maandag 30 juli 1979 voor De Volkskrant deed van de persconferentie na de première bleek dat de dirigent geen inbreng had gehad in de keuze van de zangers.
[Show full text]
Mozart's Die Zauberflöte
Mozart’s Die Zauberflöte – a partial discographical survey by Ralph Moore There are 128 recordings of Die Zauberflöte listed in the CLOR catalogue, of which around twenty are studio versions. I have tried any number of recordings and long despaired of ever finding one in acceptable sound which does the opera full justice. There are some good mono recordings from the 50’s, sometimes shorn of all dialogue as per Karajan’s, but most collectors understandably want a good stereo version, with the dialogue perhaps cut to manageable proportions for non-German-speakers. That which comes closest is Böhm’s 1964 recording starring Fritz Wunderlich as an ideal Tamino, but the perceived inadequacies of the female singers soon led to the observation that the ideal recording could have been produced by combining the men from Böhm’s recording with the women in Klemperer’s exactly contemporaneous studio recording. As they stand, both are arguably flawed but revisiting them has softened my own objections and few since have offered anything better. At almost every turn, some problem has compromised subsequent studio versions of the stereo and digital eras, such as the presence of throaty, constricted tenors as Tamino like Schreier, blighting all three recordings conducted by Suitner, Sawallisch and Davis, or Araiza for Karajan and Marriner. Finding a good Queen of the Night has been problematic, too; HIP influence has tended to encourage the casting of voices too small and flimsy to do justice to Mozart’s deceptively simple writing, and produced some really inadequate efforts, such as Harnoncourt’s, Norrington’s, Jacobs’ and Christie’s recordings, all of which I have excluded from the reviews below, as their mostly weak casting and small-scale or reduced forces approach render them of little merit as far as my own taste goes.
[Show full text]
1985 Newsletters.Pdf
&tir Wagner *urivtg VOL. 1 NO.1 FEB. 1985 LOOKING BACK AT 1984 This first issue of the Wagner Society in ti ie last appea 001101? of LI TO [HIll [1—1 [fl/S ii (31 ynn newsletter comes as we begin our second year Ross production thaL summer, as an independent organization. It seems an In May, we r.el ebratod LI 10 1)1st birthday appropriate time to look back at what we have of Richard Wagner with a parLy aL the German been doing, and ahead at what promises to Oak restaurant. Among the guests were Ring be an exciting year for Wagnerites in Northern director Nikolaus ehnliof; vii Morton, on the California. eve of her first BrOnn[iil Un; Iniga Dernesch, The winter of ‘86 saw the most intrepid our Erda; and Helmut Pompuch, here to sing of us at the first Donner Ring party, enjoying Mime. Mr. lehnhoff spoke on his stage work good food and wine and rare recordings. In on the ~ and we were all entertained by February we journeyed north to Petaluma, a campy film biography of the composer, where the Cinnabar Theater presented Das called ~jp~ of Fire, and of course the great Rheingold as a chamber opera in Andrew Por What’s Opera, Doc? with Bugs Bunny. ter’s translation, its tiny orchestra augmented Also in May, we saw another unique by a synthesizer. Despite an indisposed Loge, Wagnerian production, as WS member Sally it was a bold attempt by a small company, Gorham directed her fourth-grade students and a delightful evening.
[Show full text]
A Partial Discographical Conspectus by Ralph Moore Tristan Und Isolde Represents Both the Highpoint of Roman
Tristan und Isolde: A Partial Discographical Conspectus by Ralph Moore Tristan und Isolde represents both the highpoint of Romantic opera and the gateway to a new world of harmonic invention, epitomised by the famous “Tristan chord”. Despite its length and nearly insurmountable vocal challenges for its principal singers, it has established and maintained a central place in the operatic repertoire worldwide. For some, its popularity and appeal are inexplicable; they are likely to share Rossini’s verdict that “M. Wagner a de beaux moments, mais de mauvais quart d’heures” or, even worse, agree that, like Parsifal, Tristan "is the kind of opera that starts at six o'clock and after it has been going three hours, you look at your watch and it says 6:20.” I for one am not such a purist that I become very exercised if a few judicious cuts are made in this work, but at the same time I do not find that it drags, as long as the artists performing it can rise to its demands and sustain the requisite intensity. If I follow the work with a libretto I am apt to think that not a note is wasted; the intensity of Wagner’s vision is all-consuming if the listener can sustain concentration and be swept along by those glorious, through-composed melodies. I know of few more searingly dramatic moments in opera than “Er sah mir in die Augen” or “Rette dich, Tristan!”; this is grown-up music, devoid of stock gestures and tired platitudes, which instead explores the complexities of adult sexuality and relationships in the most extraordinarily subtle and profound manner, both musically and psychologically.
[Show full text]
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007
, 2006-2007 SEASON > BOSTON SYM PHONY RCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE *.>' ^m W." » II l^eaJ \e. /f: JCO a X; 4 1 f- ^ n| ' ^4e4rit* r **&&&&*** t"l'VV1' » f 13 i - : ud to support the Boston Symphony Orchesti ncoc, the future is yours A World-Class Alcohol and Drug Treatment Program View from The McLean Center, Princeton, MA E McLEAN CENTER AT FERNSIDE A comprehensive residential treatment program. Expertise in treating co- occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment www.mclean.harvaxd.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility Partners ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Official | Hospital of the Boston Red Sox Affiliated with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc.
[Show full text]
Richard Wagner Parsifal
1 Richard Wagner Parsifal ein Bühnenweihfestspiel in drei Aufzügen WWV 111 (Uraufführung Bayreuth 1882) Medien in der Musikbücherei am Wilhelmspalais Zusammengestellt von Gertraud Voss-Krueger 2 Notenausgaben/Tonträger/Sekundärliteratur Partitur: Wagner, Richard: Sämtliche Werke / hrsg. im Auftr. .in Verbindung mit der Bayerischen Akademie der Schönen Künste, München. Begr. von Carl Dahlhaus. Editionsleitung: Egon Voss. - Mainz : Schott. SY: W1 Wag 14,1. Parsifal : ein Bühnenweihfestspiel ; Erster Aufzug / hrsg. von Egon Voss und Martin Geck. - Partitur - c 1972. - VI, 184 S. 14,2. Parsifal : ein Bühnenweihfestspiel ; Zweiter Aufzug 14,3. Parsifal : ein Bühnenweihfestspiel ; Dritter Aufzug und kritischer Bericht / hrsg. von Egon Voss. - Partitur - c 1973. - 165 S. Wagner, Richard: Parsifal. - Studienpartitur - London [u.a.] : Eulenburg, 1985. - 899 S. Text deutsch, französisch, englisch SY: T21 Wag Wagner, Richard: Parsifal : ein Bühnenweihfestspiel. - Partitur, [Nachdruck] - Budapest : Könemann, 1993. - 377 S. SY: T11 Wag Wagner, Richard: Parsifal : WWV 111. Edited by Egon Voss and Martin Geck. - Studienpartitur - Mainz [u.a.] : Schott, 2006. - 563 S. SY: T11 Wag Klavierauszug: Wagner, Richard: Parsifal. - Klavierauszug mit Text von Felix Mottl. - Frankfurt (Main) : Peters, c 1942. - 272 S. SY: U111 Wag Wagner, Richard: Parsifal. - Klavierauszug - Budapest : Könemann, 1993. - 261 S. SY: U111 Wag Wagner, Richard: Parsifal : Blumenmädchenszene und Finale. Für Klavier bearbeitet von Zoltán Kocsis. - Klavierauszug. - Budapest : Ed. Musica, c 1983. - 32 S. SY: U12 Wag 3 CD: Gesamtaufnahmen: Wagner, Richard: Parsifal : ein Bühnenweihfestspiel in drei Akten. Amfortas, Simon Estes ; Titurel, Matti Salminen ; Gurnemanz, Hans Sotin ; Parsifal, Peter Hofmann ; Klingsor, Franz Mazura ; Kundry, Waltraud Meier. Chor und Orchester der Bayreuther Festspiele ; James Levine. - Philips Classics Productions, 1987. - 12 cm Aufn.: Live Aufnahme der Bayreuther Zentenar-Inszenierung, Festspielhaus Bayreuth, 7 & 8/1985 4 Compact Discs in Box mit Schuber Beil: Beih.
[Show full text]