DOCSLIB.ORG

Wagner Operas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wagner Operas lONDOn PHILHARMONIC ORCHESTRA Orchestral excerpts frOm Wagner Operas from Die Meistersinger von Nürnberg (1868) The London Philharmonic Orchestra has long Vladimir Jurowski was appointed the 01 10:51 Prelude established a high reputation for its versatility Orchestra’s Principal Guest Conductor in and artistic excellence. These are evident from March 2003. The London Philharmonic from Rienzi (1842) its performances in the concert hall and opera Orchestra has been resident symphony 02 13:07 Overture Orchestral excerpts frOm house, its many award-winning recordings, orchestra at the Royal Festival Hall since 1992 its trail-blazing international tours and its and there it presents its main series of concerts from Der Ring des Nibelungen Wagner Operas pioneering education work. Kurt Masur has between September and May each year. Götterdämmerung (1876) been the Orchestra’s Principal Conductor In summer, the Orchestra moves to Sussex 03 11:59 Dawn and Siegfried’s Journey to the Rhine Die Meistersinger von Nürnberg, since September 2000, extending the line where it has been the resident symphony 04 10:09 Siegfried’s Funeral Music Rienzi, Götterdämmerung, of distinguished conductors who have held orchestra at Glyndebourne Festival Opera for positions with the Orchestra since its over 40 years. The Orchestra also performs Die Walküre (1870) Die Walküre, Tannhäuser foundation in 1932 by Sir Thomas Beecham. at venues around the UK and has made 05 5:08 The Ride of the Valkyries (concert version) These have included Sir Adrian Boult, Sir John numerous tours to America, Europe and Japan, Pritchard, Bernard Haitink, Sir Georg Solti, and visited India, Hong Kong, China, South 25:38 from Tannhäuser (1845) Klaus tennstedt conductor Klaus Tennstedt and Franz Welser-Möst. Korea, Australia and South Africa. 06 11:41 Overture lOndOn philharmOnic Orchestra 07 13:57 Venusberg Music Klaus tennstedt conductor LondOn philharmOnic Orchestra heinrich hOchschild guest leader The London Philharmonic Orchestra with Klaus Tennstedt LPO – 0003 Orchestral excerpts frOm Wagner Operas Klaus tennstedt conductor Prelude: Die Meistersinger von Nürnberg Dawn and Siegfried’s Journey to the The Ride of the Valkyries: Die Walküre aspires to marry the saintly Elisabeth. Love Born in East Germany, Klaus Tennstedt studied was a major event, none more so than this Die Meistersinger is Wagner’s first and last Rhine; Siegfried’s Funeral March: The nine Valkyries are the daughters of the is inevitably doomed, the end result being at the Leipzig Conservatory and conducted concert of Wagner’s music given at the BBC attempt at comedy. Its prelude depicts life in Götterdämmerung god Wotan and Erda, the Earth Goddess. They Elisabeth’s death and his own tragic downfall. throughout his native land but it was not until Proms in the Royal Albert Hall on 20 August Germany’s richest and most historic town. After passing through the magic fire that are sent to look for heroes who have died in he moved to the West in 1971 that he started 1992. In reviewing this concert in the Sunday The Mastersingers are represented by two the god Wotan has commanded to protect battle and bring them back to life to protect The Venusberg Music, composed (but not to achieve world recognition. He made his Times, Hugh Canning recalls ‘Music-making themes in the style of marches. The other his daughter Brünnhilde asleep on a high Valhalla, Wotan’s palace. Their appearance performed) to follow the overture to the American debut with the Boston Symphony on an altogether more exalted level filled an main theme in the opera portrays the lovers’ rock, the hero Siegfried finds her and for the at the beginning of the third act of Die Paris production of 1861, follows. In a Orchestra in 1974 and his debut with the Albert Hall to the rafters on Thursday night. ideals of love and art. But in its essence, Die first time falls in love. But his passion for Walküre is as raucous as their task is grim. rocky grotto assorted nymphs, satyrs and London Philharmonic Orchestra in 1977. Tennstedt is one of the few interpreters Meistersinger contains not one but two love Brünnhilde soon gives way to his longing for These eight tough women (Brünnhilde is fauns take part in a wild dance which He had an instant rapport with the London working today who even begins to convey stories: the first is the love of the nobleman new adventure. As a token of his love, he the ninth but is occupied with other matters grows into a frenzied orgy. Eventually the Philharmonic Orchestra which resulted in the majesty of Wagner’s orchestral writing. Walther von Stolzing for Eva Pogner, the leaves his ring with her and sets off down at this stage) are gathering at the summit Three Graces arrive to calm things down return invitations and his appointment as the The Prommers gave Tennstedt a hero’s daughter of the richest man in town, and the the Rhine. He plays his horn in a defiant of a rocky mountain before riding off to and the music gradually dies away. Orchestra’s Principal Conductor and Music welcome and he rewarded them with an second of David, Hans Sachs’s apprentice, for and exuberant mood, but what he does not select heroes from the piles of the dead. Director in 1983. This developed into a unique encore, one of the most thrilling accounts Magdalena, Eva’s servant and companion. yet know is that he is about to reach the Eduardo Benarroch and remarkable relationship until illness I can recall of The Ride of the Valkyries.’ When heard in the opera house the prelude kingdom of the Gibichungs, where envy and Overture and Venusberg Music: Tannhäuser finally brought it to a premature end some leads straight into the first scene in the greed will eventually bring about his death. 116 years before this recording, Tannhäuser ten years later. Klaus Tennstedt died in 1998. church of St Katherine, where Walther and received its London première at Covent Garden Eva speak to each other for the first time. Hagen, the Nibelung Alberich’s son, has been in an Italian version. Its overture has the Tennstedt was particularly renowned for conceived for one purpose only: to bring rare honour of being the first Wagner music his performances of the German repertoire, Overture: Rienzi about the downfall of the Gods and in so heard in London to the almost unanimous particularly Mahler whose symphonies he This overture to Wagner’s early opera, doing regain his father’s ring. Brünnhilde disapproval of the critics of the time. Wagner conducted regularly at the Royal Festival Hall Rienzi, has long been a concert hall favourite has inadvertently revealed to him that himself conducted it in 1855 at a concert and on disc for EMI to huge public acclaim. although the opera is seldom revived for the Siegfried’s weak point is his back. This is attended by Queen Victoria during his three His energy, musicianship and emotional stage. Rienzi is a man who is corrupted by where, during a hunt, Hagen plunges his month stay in London at the invitation involvement combined with a rare humility power and meets his death at the hands of spear and kills him. There follows the most of the Philharmonic Society. The overture endeared him to audiences and musicians his followers. The overture includes various grandiose funeral music ever written, turning takes us through the extremes of the life alike. Latterly every concert appearance motifs from the opera such as Rienzi’s prayer Siegfried’s death into a celebration of his life. of the knight, Tannhäuser, who enjoys the and the trumpet call - the sound which sinful pagan court of the goddess Venus but Holt heralds the uprising taking Rienzi to power. Richard Orchestral excerpts frOm Wagner Operas Klaus tennstedt conductor Prelude: Die Meistersinger von Nürnberg Dawn and Siegfried’s Journey to the The Ride of the Valkyries: Die Walküre aspires to marry the saintly Elisabeth. Love Born in East Germany, Klaus Tennstedt studied was a major event, none more so than this Die Meistersinger is Wagner’s first and last Rhine; Siegfried’s Funeral March: The nine Valkyries are the daughters of the is inevitably doomed, the end result being at the Leipzig Conservatory and conducted concert of Wagner’s music given at the BBC attempt at comedy. Its prelude depicts life in Götterdämmerung god Wotan and Erda, the Earth Goddess. They Elisabeth’s death and his own tragic downfall. throughout his native land but it was not until Proms in the Royal Albert Hall on 20 August Germany’s richest and most historic town. After passing through the magic fire that are sent to look for heroes who have died in he moved to the West in 1971 that he started 1992. In reviewing this concert in the Sunday The Mastersingers are represented by two the god Wotan has commanded to protect battle and bring them back to life to protect The Venusberg Music, composed (but not to achieve world recognition. He made his Times, Hugh Canning recalls ‘Music-making themes in the style of marches. The other his daughter Brünnhilde asleep on a high Valhalla, Wotan’s palace. Their appearance performed) to follow the overture to the American debut with the Boston Symphony on an altogether more exalted level filled an main theme in the opera portrays the lovers’ rock, the hero Siegfried finds her and for the at the beginning of the third act of Die Paris production of 1861, follows. In a Orchestra in 1974 and his debut with the Albert Hall to the rafters on Thursday night. ideals of love and art. But in its essence, Die first time falls in love.
Load more

Recommended publications
  • Parsifal and Canada: a Documentary Study
    Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
    [Show full text]
  • By Richard Wagner 1856 Ride of the Valkyries
    KNOWLEDGE ORGANISER: KEY PIECES OF MUSIC 6 BY RICHARD RIDE WAGNER OF THE 1856 VALKYRIES THE STORY—well, a short snippet of it... Wotan has 9 daughters. These are the Valkyries whose task it is to recover heroes fallen in battle and bring them back to Valhalla where they will protect Wotan’s fortress. Wotan hopes for a hero who will take a ring from the dragon. Wotan has two other children who live on Earth; twins called Siegmund and Sieglinde. They grow up separately but meet one day. Siegmund plans to battle Sieglinde’s husband as she claims he forced her to marry him. Wotan believes Siegmund wants to capture and keep the ring and won’t protect him. He sends one of his Valkyrie daughters to bring him to Valhalla but he refuses to go without his sister. She tries to help him in battle against her father’s wishes but sadly he dies. Meanwhile, the Valkyries congregate on the mountain-top, each carrying a dead hero and chattering excitedly when the daughter arrives with Sieglinde. Wotan is furious and plans to punish her. Prelude An introductory piece of music. A prelude often opens an act in an opera Act A musical, play or opera is often split into acts. There is often an interval between acts THE MUSIC THE COMPOSER Ride of the Valkyries is only part of a Wagner loved the brass section and even huge major work. It is taken from a cycle invented the Wagner Tuba which looks like of 4 massive operas known as The Ring a cross between a French horn and of the Nibelungs or The Ring for short.
    [Show full text]
  • 05-09-2019 Siegfried Eve.Indd
    Synopsis Act I Mythical times. In his cave in the forest, the dwarf Mime forges a sword for his foster son Siegfried. He hates Siegfried but hopes that the youth will kill the dragon Fafner, who guards the Nibelungs’ treasure, so that Mime can take the all-powerful ring from him. 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 storms 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 inquiring 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.
    [Show full text]
  • Inside the Ring: Essays on Wagner's Opera Cycle
    Inside the Ring: Essays on Wagner’s Opera Cycle John Louis DiGaetani Professor Department of English and Freshman Composition James Morris as Wotan in Wagner’s Die Walküre. Photo: Jennifer Carle/The Metropolitan Opera hirty years ago I edited a book in the 1970s, the problem was finding a admirer of Hitler and she turned the titled Penetrating Wagner’s Ring: performance of the Ring, but now the summer festival into a Nazi showplace An Anthology. Today, I find problem is finding a ticket. Often these in the 1930s and until 1944 when the myself editing a book titled Ring cycles — the four operas done festival was closed. But her sons, Inside the Ring: Essays on within a week, as Wagner wanted — are Wieland and Wolfgang, managed to T Wagner’s Opera Cycle — to be sold out a year in advance of the begin- reopen the festival in 1951; there, published by McFarland Press in spring ning of the performances, so there is Wieland and Wolfgang’s revolutionary 2006. Is the Ring still an appropriate clearly an increasing demand for tickets new approaches to staging the Ring and subject for today’s audiences? Absolutely. as more and more people become fasci- the other Wagner operas helped to In fact, more than ever. The four operas nated by the Ring cycle. revive audience interest and see that comprise the Ring cycle — Das Wagnerian opera in a new visual style Rheingold, Die Walküre, Siegfried, and Political Complications and without its previous political associ- Götterdämmerung — have become more ations. Wieland and Wolfgang Wagner and more popular since the 1970s.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898
    Metropolitan Opera House, New York. Boston Symphony Orchestra. Mr. EMIL PAUR, Conductor. Twelfth Season in New York. PROGRAMME OF THE Fifth and Last Concert THURSDAY EVENING, MARCH 24, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (11 Steinway & Sons, Piano Manufacturers BY APPOINTMENT TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY. THE ROYAL COURT OF PRUSSIA. His Majesty, FRANCIS JOSEPH, Emperor of Austria. HER MAJESTY, THE QUEEN OF ENGLAND. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH. His Majesty, UMBERTO I., the King of Italy. Her Majesty, THE QUEEN OF SPAIN. His Majesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr William Stbinway the order of The Rkd Eagle, III. Class, an honor never before granted to a manufacturer The Royal Academy Of St. Ceecilia at Rome, Italy, founded by the celebrated composer Pales- trii a in 1584, has elected Mr. William Steinway an honorary member of that institution. The following it the translation of his diploma: — The Royal Academy of St. Ceecilia have, on account of his eminent merit in the domain of muse, and in conformitv to their Statutes, Article 12, solemnly decreed to receive William Stein- way into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Albx Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES MAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, 107-111 East 14th St., New York.
    [Show full text]
  • WAGNER and the VOLSUNGS None of Wagner’S Works Is More Closely Linked with Old Norse, and More Especially Old Icelandic, Culture
    WAGNER AND THE VOLSUNGS None of Wagner’s works is more closely linked with Old Norse, and more especially Old Icelandic, culture. It would be carrying coals to Newcastle if I tried to go further into the significance of the incom- parable eddic poems. I will just mention that on my first visit to Iceland I was allowed to gaze on the actual manuscript, even to leaf through it . It is worth noting that Richard Wagner possessed in his library the same Icelandic–German dictionary that is still used today. His copy bears clear signs of use. This also bears witness to his search for the meaning and essence of the genuinely mythical, its very foundation. Wolfgang Wagner Introduction to the program of the production of the Ring in Reykjavik, 1994 Selma Gu›mundsdóttir, president of Richard-Wagner-Félagi› á Íslandi, pre- senting Wolfgang Wagner with a facsimile edition of the Codex Regius of the Poetic Edda on his eightieth birthday in Bayreuth, August 1999. Árni Björnsson Wagner and the Volsungs Icelandic Sources of Der Ring des Nibelungen Viking Society for Northern Research University College London 2003 © Árni Björnsson ISBN 978 0 903521 55 0 The cover illustration is of the eruption of Krafla, January 1981 (Photograph: Ómar Ragnarsson), and Wagner in 1871 (after an oil painting by Franz von Lenbach; cf. p. 51). Cover design by Augl‡singastofa Skaparans, Reykjavík. Printed by Short Run Press Limited, Exeter CONTENTS PREFACE ............................................................................................ 6 INTRODUCTION ............................................................................... 7 BRIEF BIOGRAPHY OF RICHARD WAGNER ............................ 17 CHRONOLOGY ............................................................................... 64 DEVELOPMENT OF GERMAN NATIONAL CONSCIOUSNESS ..68 ICELANDIC STUDIES IN GERMANY .........................................
    [Show full text]
  • Wagner in Comix and 'Toons
    - The original artwork [pictured in black and white Who Knew? at bottom] used to produce the 1975 Marvel cover [pictured in color below] is, like a number Remember when parents struck like Darth Vader at of other original illustrations for comic books, their kids’ comic book collections? “Trash” is the fetching large sums from collectors. word they used, and out the comics went. Little did The New York Times, Sunday, June 30, 2008 anyone realize that he might be throwing out a valuable collectors piece. More to the point, as Mr. F. Peter Phillips shows in the following illustrated essay on Richard Wagner is how the “comix” have been used to graphically portray his epic “Rng Cycle.” Phillips shows how popular culture and its forms (comic books and car- toons) have been incorporated in the Gesamtkust- werk concept and have added still another dimension to the legacy of Wagner’s operas. It wouldn’t have surprised Wagner who said after the first production of the Ring in 1876, “Next time, children, everything different.” An open mind and a willing heart have always been prerequisites for en- joying any of the fine arts. Mr. Phllips is an attorney specializing in Alternative Dispute Resolution and serves as Secretary of the Wagner Society of New York. Harry L. Wagner, Publisher Wagner Society of New York Wagner in Comix and ‘Toons By F. Peter Phillips Recent publications have revealed an aspect of Wagner-inspired literature that has been grossly overlooked—Wagner in graphic art (i.e., comics) and in animated cartoons. The Ring has been ren- dered into comics of substantial integrity at least three times in the past two decades, and a recent scholarly study of music used in animated cartoons has noted uses of Wagner’s music that suggest that Wagner’s influence may even more profoundly im- bued in our culture than we might have thought.
    [Show full text]
  • Wagner: Das Rheingold
    as Rhe ai Pu W i D ol til a n ik m in g n aR , , Y ge iin s n g e eR Rg s t e P l i k e R a a e Y P o V P V h o é a R l n n C e R h D R ü e s g t a R m a e R 2 Das RheingolD Mariinsky Richard WAGNER / Рихард ВагнеР 3 iii. Nehmt euch in acht! / Beware! p19 7’41” (1813–1883) 4 iv. Vergeh, frevelender gauch! – Was sagt der? / enough, blasphemous fool! – What did he say? p21 4’48” 5 v. Ohe! Ohe! Ha-ha-ha! Schreckliche Schlange / Oh! Oh! Ha ha ha! terrible serpent p21 6’00” DAs RhEingolD Vierte szene – scene Four (ThE Rhine GolD / Золото Рейна) 6 i. Da, Vetter, sitze du fest! / Sit tight there, kinsman! p22 4’45” 7 ii. Gezahlt hab’ ich; nun last mich zieh’n / I have paid: now let me depart p23 5’53” GoDs / Боги 8 iii. Bin ich nun frei? Wirklich frei? / am I free now? truly free? p24 3’45” Wotan / Вотан..........................................................................................................................................................................René PaPe / Рене ПАПЕ 9 iv. Fasolt und Fafner nahen von fern / From afar Fasolt and Fafner are approaching p24 5’06” Donner / Доннер.............................................................................................................................................alexei MaRKOV / Алексей Марков 10 v. Gepflanzt sind die Pfähle / These poles we’ve planted p25 6’10” Froh / Фро................................................................................................................................................Sergei SeMISHKUR / Сергей СемишкуР loge / логе..................................................................................................................................................Stephan RügaMeR / Стефан РюгАМЕР 11 vi. Weiche, Wotan, weiche! / Yield, Wotan, yield! p26 5’39” Fricka / Фрикка............................................................................................................................ekaterina gUBaNOVa / Екатерина губАновА 12 vii.
    [Show full text]
  • Andréas Hallén's Letters to Hans
    ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.” ”Klappern und wieder klappern! Die Leute glauben nur was gedruckt steht.”1 Andréas Hallén’s Letters to Hans Herrig. A Contribution to the Swedish-German Cultural Contacts in the Late Nineteenth Century Martin Knust It is beyond question that the composer Andréas Hallén (1846–1925) never stood in the front line of Swedish musical life. Nevertheless, the ways he composed and promoted his music have to be regarded as very advanced for his time. As this study reveals, Hallén’s work as a composer and music critic may have served as a model for the next generation of composers in Sweden. Moreover, his skills as an orchestra- tor as well as his cleverness in building up networks on the Continent can hardly be overestimated. Hallén turns out to have been quite a modern composer in that he took over the latest music technologies and adapted them to a certain music market. The study of Hallén and his work exposes certain musical and cultural developments that were characteristic for Sweden at the turn of the century. Documents that just recently became accessible to research indicate that it is time to re-evaluate Hallén’s role in Swedish musical life. Correspondence between opera composers and their librettists provides us with a wealth of details about the genesis of these interdisciplinary art works and sometimes even, like the correspondence Strauss–Hofmannsthal, about the essence of opera itself. In the case of the Swedish composer Andréas2 Hallén, his first opera Harald der Wiking was not only an interdisciplinary but also an international project because he worked together with the German dramatist Hans Herrig (1845–1892).
    [Show full text]
  • From Page to Stage: Wagner As Regisseur
    Wagner Ia 5/27/09 3:55 PM Page 3 Copyrighted Material From Page to Stage: Wagner as Regisseur KATHERINE SYER Nowadays we tend to think of Richard Wagner as an opera composer whose ambitions and versatility extended beyond those of most musicians. From the beginning of his career he assumed the role of his own librettist, and he gradually expanded his sphere of involvement to include virtually all aspects of bringing an opera to the stage. If we focus our attention on the detailed dramatic scenarios he created as the bases for his stage works, we might well consider Wagner as a librettist whose ambitions extended rather unusually to the area of composition. In this light, Wagner could be considered alongside other theater poets who paid close attention to pro- duction matters, and often musical issues as well.1 The work of one such figure, Eugène Scribe, formed the foundation of grand opera as it flour- ished in Paris in the second quarter of the nineteenth century. Wagner arrived in this operatic epicenter in the fall of 1839 with work on his grand opera Rienzi already under way, but his prospects at the Opéra soon waned. The following spring, Wagner sent Scribe a dramatic scenario for a shorter work hoping that the efforts of this famous librettist would help pave his way to success. Scribe did not oblige. Wagner eventually sold the scenario to the Opéra, but not before transforming it into a markedly imaginative libretto for his own use.2 Wagner’s experience of operatic stage produc- tion in Paris is reflected in many aspects of the libretto of Der fliegende Holländer, the beginning of an artistic vision that would draw him increas- ingly deeper into the world of stage direction and production.
    [Show full text]
  • WAGNER / Рихард Вагнер DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (Conclusion) 1 Xii
    lk a Waü GN r W , joNas k e e pe kY au r m iNs or f e ri C m i a a Val H k er e a m Y s N a t D j N G r N e , a r a r e G N i e é V p a p e , N i N a s t e e m m 2 Die Walküre Mariinsky Richard WAGNER / Рихард ВагнеР DISC 3 45’41” (1813–1883) Zweiter Aufzug – Act Two (conclusion) 1 xii. Schwer wiegt mir der Waffen Wucht / My load of armour weighs heavy on me p18 2’28” DiE WAlkÜRE 2 xiii. Dritte Szene: Raste nun hier, gönne dir Ruh’! / Scene Three: Do stop here, and take a rest p18 8’56” (ThE VAlkyRiE / ВалькиРия) 3 xiv. Wo bist du, Siegmund? / Where are you, Siegmund? p19 3’49” 4 xv. Vierte Szene: Siegmund! Sieh auf mich! / Scene Four: Siegmund, look at me p19 10’55” Siegmund / Зигмунд...................................................................................................................................Jonas KAUFMANN / Йонас Кауфман 5 xvi. Du sahst der Walküre sehrenden Blick / you have seen the Valkyrie’s searing glance p20 4’27” hunding / Хундинг................................. ..............................................................................................Mikhail PETRENKO / михаил ПетренКо 6 xvii. So jung un schön erschimmerst du mir / So young and fair and dazzling you look p20 4’58” Wotan / Вотан..........................................................................................................................................................................René Pape / рене ПаПе 7 xviii. Funfte Szene: Zauberfest bezähmt ein Schlaf / Scene Five: Deep as a spell sleep subdues p21 3’01” Sieglinde / Зиглинда........................................................................................................................................................Anja
    [Show full text]
  • 4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
    4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera.
    [Show full text]