Wagner: Orchestral Highlights

On this CD:

1. Die Meistersinger von Nürnberg, opera, WWV 96 Overture
Composed by Richard Wagner
Performed by National Symphony Orchestra of Polish Radio and Televsion
Conducted by Johannes Wildner

2. Tristan und Isolde, opera, WWV 90 Prelude to Act 1/Isolde's Liebestod
Composed by Richard Wagner
Performed by National Symphony Orchestra of Polish Radio and Televsion
Conducted by Johannes Wildner

3. Parsifal, opera, WWV 111 Prelude to Act 1
Composed by Richard Wagner
Performed by National Symphony Orchestra of Polish Radio and Televsion
Conducted by Johannes Wildner

4. Siegfried Idyll, for small orchestra in E major, WWV 103
Composed by Richard Wagner
Performed by National Symphony Orchestra of Polish Radio and Televsion
Conducted by Johannes Wildner

5. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Immolation of the Gods
Composed by Richard Wagner
Performed by National Symphony Orchestra of Polish Radio and Televsion
Conducted by Johannes Wildner

Tracks:

Thus, We Begin In The 'Greenish Twilight' Of The Rhine
Float Up To The Home Of The Gods (Entrance Of The Gods Into Valhalla)
Fall Amongst Hammering Dwarfs 'Smithying' Away
Ride Donner's Thunderbolt, Crawl With The Thirst-Crazed Siegmund To The Haven...
In The Sound Code, We 'See' His Loving Gaze
Their Flight
Wotan's Rage
The Cavalcade Of Brde's Sisters, (Ride Of The Valkyries)
Wotan's Farewell To His Favorite Daughter, (Wotan's Farewell And Magic Fire Music)
Mime's Fright
Siegfried's Forging Of The Magic Sword
His Wanderings Through The Forest, (Forest Murmurs)
His Slaying Of The Dragon
The Dragon's Lament
Day Breaking 'Round Sigfried's And Brde's Passion
Siegfried's Rhine Journey, (Dawn And Sigfried's Rhine Journey)
Hagen's Call To His Clan
Siegfried And The Rhinemaidens
His Death And The Funeral Music, (Siegfried's Death And Funeral Music)
Immolation. (Immolation Scene)

Customer Reviews:

A disappointment.......2007-04-20

Being a Wagnerite is sometimes a little difficult. Wagner's music is demanding on practically all levels, and especially demanding to the casual listener. The music can sometimes be too sugary, way overblown, or deceptively muted. This can definitely present problems, and that is why there are those who can detest Wagner's works to the degree that others love it. There is little middle room: Love or hate, Wagner's music is unique...and difficult.

This CD brings out another difficulty: The attempt to tone down Wagner and make his work more generally acceptable. On the good side, this CD is a rather good compilation of some of the Ring's most important melodies. Its symphonic structure allows good flow between the rather disjoint work, and the idea works to a significant degree.

But Maazel's approach is to create a uniformity of interpretation on a work that took more than 20 years to complete. This uniformity saps the Ring of much of its musical strength. The standard pieces are played almost the same as the other selections; little differentiation is evident and as a result only minor aspects of the drama in this incredible music drama are revealed.

While it is possible to play Wagner's music poorly, I always thought it was equally possible to at least grasp its passion. Unfortunately, Maazel's approach proves me to be wrong.

Yes, being a Wagnerite can be very difficult.

"The Ring without Words" is really "The Ring without Pauses . . . ".......2006-07-25

Even Wagner had the good sense to construct his monumental "Ring" Cycle as four distinct operas! So when Loren Maazel got the idea to record a "Ring without Words," what was so important about making it one long movement? No one knew better than Wagner the emotional impact of a well-placed fermata or a crash-bang finale, but this spark of genius seems to have eluded Maazel in his obsession to keep the musical Rhine flowing from beginning to end non-stop for 67 minutes. What seems at first to be a really novel idea starts to break down early on when we begin to anticipate the throbbing final pages of "Das Rheingold," only to discover that for the sake of seamlessness, the whole dramatic passage is skipped over by an awkward leap from Donner's thunder into the depths of "Die Walkure!" Other cuts can be forgiven considering time limitations, although there is still room for ten more minutes of music on the CD. Edo de Vaart gives us something more on his "Ring" recording, since he has no fear of finales. Otherwise, Maazel's handing of the score is quite exciting, and the Vienna Philharmonic is totally responsive to his every gesture. Here's a good idea for some future recording, one I'd certainly buy and which would appeal to thousands of other "Wagnerites" like myself: why not a four-movement "Ring Without Words" across two CDs, with every possible voiceless note from the pen of the Master, one opera after the other?

The best synthesis of orchestral music from the Ring.......2006-07-12

If you're looking for a single CD of orchestral music from Wagner's Ring, I'd like to recommend this one. Here's why.

Wagner's tetralogy Der Ring des Nibelungen contains some of the most magnificent, most stirring, most imaginative music ever written (along with some that's pedestrian and dull; there are glorious moments, splendid peaks, and there are arid stretches, longeurs that make one wish that Wagner the supreme egotist had submitted his work to the judgment of a good editor). The four operas comprising it are Das Rheingold (1869), Die Walkure (1870), Siegfried (1876), and Gotterdammerung (1876). Taken together they form the towering masterwork and crowning achievement of Wagner's maturity. They are also immensely long: about 17 hours.

The problem has always been to extract the best parts of the Ring for satisfactory concert presentation. The Ring does not make this easy: it contains no conventional overtures or preludes, no conveniently extractable bits. Thus various hands ever since Wagner's day have carved out "bleeding chunks," with mixed results, and the practice has always been controversial.

This CD presents a different approach. In order to make this recording---to quote the Wagner expert in Third Ear: Classical Music: The Listener's Companion (ed. Alexander J. Morin, 2002; an excellent book, by the way)---"Maazel decided to create his own vast symphonic suite from the Ring, and he has toured with it around the world. . . . If you want to hear the best parts of the Ring without sitting down to 17 hours or so, this is your best bet." I agree. Maazel's 70-minute symphonic synthesis of the best music from the Ring has a consistency, an integration and seamless flow, an organic rightness lacking in other Ring orchestral-highlights programs, with their "bleeding chunks" approach. Also, Maazel's suite gives a better idea of the scope and variety of the Ring, of its full range of colors and sonorities, than the standard orchestral excerpts.

Let Maazel describe his priorities in putting his suite together: "I was intrigued by the challenge: could a symphonic synthesis of the Ring reveal the essentials? I bolted the following list of criteria to my drawingboard: One: the synthesis must be free-flowing and chronological, beginning with the first note of Rheingold and finishing with the last chord of Gotterdammerung. Two: the transitions must be harmonically and periodically justifiable, the pacing contrasts commensurate with the length of the work. Three: most all of the music originally written for orchestra without voice must be used, adding those sections with a vocal line essential to a synthesis . . . . Four: every note must be Wagner's own. . . . Though no conscious attempt was made to include all the Ring's motifs, most of them do surface in one form or another."

The result as represented on this CD is eminently satisfactory. Maazel is a seasoned Wagner conductor, and has conducted the complete Ring at Bayreuth and elsewhere. The Berlin Philharmonic is one of the world's great orchestras. Both it and Maazel are in top form here: the performance is idiomatic and assured, sweeping and eloquent, played to the hilt, bristling with authority and conviction. I hope I'm not being fanciful in finding that listening to the whole suite straight through yields a kind of catharsis. The sound is robust, full-bodied, with wide dynamic range, with solid weight and impact. Telarc's engineers have done a commendable job of coping with the problematic acoustics of Berlin's Philharmonie; this is probably just about the best sound that can be extracted from that vexed venue.

The recording was made in Dec. 1987. Total playing time is 69:40 (broken out as follows: Das Rheingold 14:47, Die Walkure 12:42, Siegfried 6:15, and Gotterdammerung 36:33; if this seems to give short shrift to Siegfried, it has always been musically the weakest of the four operas).

In short, it's hard to imagine a better orchestral introduction to the glories of the Ring. The virtues of this CD move it to the top of its class: highly recommended.

Could have been a fun ride, but..........2005-10-01

Decades ago, Leopold Stokowski popularized opera for the general public through "symphonic syntheses." These included Wagner's Ring, Triastan, and Boris Godunov, to mention those I've heard and enjoyed. I was prepared to enjoy Maazel's modern update and expected a fun ride through the gorgeous sonorities of Wagner's score.

Not much enjoyment resulted, however. Maazel is superficial, often ponderous, and much too roughshod with this pastische. It can't all be crash and bang. So I threw the CD away and hope a few others won't make the mistake I did.

Decent, though not ideal; fulfills the original intent.......2005-04-27

In having read the other reviews of this CD, I think many individuals failed to take note of the original intent behind this CD coming about in the first place. Lorin Maazel was commissioned by the recording company (Telarc) to come up with an arrangement of the prime orchestral excerpts of the "Ring," and his 4-step approach listed in the booklet, makes it abundantly clear that NOT ALL of the music commonly heard on other recordings of the orchestral music from the "Ring," would be heard in this arrangement. Also, it is to be inferred that Maazel knows, and obviously doesn't expect his arrangement to take the place of ANY complete recording of the "Ring."

I heard Maazel conduct his arrangement live with the National Symphony Orchestra of Washington, DC last year. Before that concert, I had never listened to this recording, but I knew about it. So I had the advantage of going into the concert with a fresh mind.

I came out of the concert with the feeling that others before me expressed -- that some of the transitions between familiar excerpts were smooth, some so-so, and others rather clunky. I think Maazel would be the first to admit that he was more successful in some areas of his arrangement, and not as successful in others. So be it. Wagner is tough for anyone and everyone delving into the complete operas, whatever their command of German and musical/orchestral principles.

So, my rating and review of this recording is confined to Maazel's task at hand. I give his effort four stars. Most of this "grade" is confined to the arrangement itself. I give the orchestral playing five stars.

Great Orchestral Highlights from The Ring of the Nibelungs / Szell, Cleveland Orchestra (SACD)

Average customer rating:

Conversion
Not to be missed
Greatly improved sound, excellent performances
Szell and Karajan were freinds!!!
A classic Szell recording beautifully restored

Great Orchestral Highlights from The Ring of the Nibelungs / Szell, Cleveland Orchestra (SACD)
Wagner , Cleveland Orchestra , and George Szell
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000044U19
Release Date: 2000-01-11

Customer Reviews:

Conversion .......2005-03-07

This is a very good recording of these works - all from Wagner's Nibelungen operas. Prior to purchasing this SACD, I did not totally agree with Szell's approach to Wagner. His approach, I thought, was too clear, too lacking on the bass line, and the accoustic at Severance Hall didn't help much. This SACD clarifies Szell in a very favorable way. Severance Hall doesn't sound nearly as bad of a place to record as I previously thought (though it's still debatable whether Szell's modifications to the hall in the late 50's were an improvement...) and the listener hears a much more balanced orchestral sonority, one which is without any congestion, clear as a bell, so to speak.

The performances themselves are top-flight - no question, by the late 1960's, the Cleveland Orchestra was the best orchestra in the U.S., outgunning everyone else. Szell lets the music speak for itself - no indulging in one's own self-centered interpretations here. Tempi are as specified and there are no orchestral rearrangements as there were in his Schumann recordings.

Now, if only Sony would release the rest of Szell's Wagner recordings on SACD, I'd be really happy to buy it.

Not to be missed.......2004-12-02

Hard to believe that these old Columbia/Epic LPs had this kind of sound in them. The sound stage is deep and wide and the string sound truly analogue. I find some of the ring excerpts not particularly to my liking musically, but the Tristan Prelude? A great recording by any measure. I was mesmerized by Szell's performance and have listened many, many times. SACD is so phenomenal. No ear fatigue and musically so involving. I haven't enjoyed listening so much since my LP days. This is the full measure of digital sound.

Greatly improved sound, excellent performances.......2004-09-17

I have been comparing this (non-hybrid, stereo-only) Sony SACD with the old Sony/CBS CD set - the 2 discs Maestro series from 1990, I've never heard a more recent Essential Classics CD incarnation coupled with some Ormandy Wagner. I suspect that was the same remastering.

The SACD replicates the second CD from that set (Ring excerpts plus the Tristan Prelude and Liebestod) and adds the Meistersinger Prelude, giving a total timing of 76'47.

I compared the tracks I know very well: the two Gotterdammerung excerpts. Unlike the other Szell SACD I have compared (Schumann Symphonies No 2 & 4, where the difference was discernible but slight), here the new disc sounds clearly different, and I think better.

On CD I always felt it was perhaps the slight aural 'edge' and hint of constriction that made these performances so thrilling (even though the sounds was rather flat in terms of front to back perspective), but this SACD removes that acerbity to some extent, to advantage I feel. There is much more depth to the sound and it is richer - and the orchestra sounds closer (perhaps even a tad smaller?) with greater detail. Strings sound more in focus. Maybe some of the ambience has changed, but perhaps this more realistically conveys the true acoustic of Severance Hall. Hearing the brief fanfare at 5'13ff in the Rhine Journey, here it is more rounded and realistic.

Tape hiss is absent from the SACD. In the Funeral March the advantage is clearer: the detail is much finer (the timpani strokes sound clearly at 2'55ff, whereas on CD they were blurred and the lighter ones inaudible).

For Wagnerians and Szell fans I think this SACD is worth getting as a supplement to the normal CD - I will of course retain the CDs as the SACD cannot be played elsewhere like the car changer.

Szell and Karajan were freinds!!!.......2004-06-07

In a recent bio on Karajan I was surprised to read the two were very good freinds and shared a alot in common. They also had similar approaches to orchestral sonority...

Suprisingly enough the approach to the Wagner here is very alike Herbert in some regards...I like the way Szell approaches the music in a more intense approach.

Karajan did get to do the Ring...but alas we may get to hear Szell with the Met from the 40s which some believe does exist in archive. As to the playing this is the finest Wagner record of exerpts out there.

It surpasses Herbert's any day!!!

The wonderful thing is how Cleveland is so transparent in it's textures...not as unlike Klemperer as one would think!!!

A classic Szell recording beautifully restored.......2002-01-25

There is very little to add to the excellent preceding review on this recording. I would just add an observation that the DSD transfer onto SACD brings a far greater level of realism and transparency as compared to the original LP or any subsequent CD transfer. We get as close as we likely ever will to hearing Szell's original intentions in the studio, which were obscured by Columbia's notoriously poor transfers of the original reel-to-reel master tape onto LP. In those days Columbia would artificially boost the mid-range on a recording to make it sound better on mediocre equipment -- not exactly an audiophile technique! This DSD transfer, by contrast, is untampered electronically, not even by noise reduction, which is also notorious for robbing analogue recordings from this vintage of their ambience and warmth. The result is a small amount of tape hiss, which I will gladly accept to be given the chance to hear what Szell and his fabulous Clevelanders actually recorded.

Average customer rating:

Where is Karajan's Ring on amazon?
not an introduction to The Ring
A wonderful introduction, or a new experience
good introduction
Good introduction to the Ring, good value

Highlights from Der Ring des Nibelungen

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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An Introduction to Der Ring des Nibelungen

ASIN: B00004XT2G
Release Date: 2001-02-27

Tracks:

The Rhinegold: Lugt, Schwestern! Die Weckerin Lacht in Den Grund - Helen Donath/Edda Moser/Anna Reynolds/Zoltan Kelemen
The Rhinegold: Nur Wer Der Minne Macht Ensagt - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Der Welt Erbe Gewann Ich Zu Eigen Durch Dich - Zoltan Kelemen/Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Haltet Den Rauber! - Helen Donath/Edda Moser/Anna Reynolds
The Rhinegold: Hor, Wotan, Der Harrenden Wort! - Karl Ridderbusch/Dietrich Fischer-Dieskau/Martti Talvela/Simone Mangelsdorff
The Rhinegold: Schwester! Bruder! Rettet! Helft! - Simone Mangelsdorff/Donald Grobe/Robert Kerns/Gerhard Stolze/Josephine Veasey
The Rhinegold: Wotan, Gemahl, Unselger Mann! - Josephine Veasey/Dietrich Fischer-Dieskau/Gerhard Stolze/Robert Kerns/Donald Grobe
The Rhinegold: (Transformation Music) - BPO/Herbert Von Karajan
The Rhinegold: Zur Burg Fuhrt Die Brucke - Donald Grobe
The Rhinegold: Abendlich Strahlt Der Sonne Auge - Dietrich Fischer-Dieskau
The Rhinegold: So Gruss Ich Die Burg - Dietrich Fischer-Dieskau/Josephine Veasey/Gerhard Stolze
The Rhinegold: Rheingold! Rheingold! - Helen Donath/Edda Moser/Anna Reynolds/Dietrich Fischer-Dieskau/Gerhard Stolze
The Valkyrie: Der Manner Sippe Sass Hier Im Saal - Gundula Janowitz/Jon Vickers
The Valkyrie: Wintersturme Wichen Dem Wonnemond - Jon Vickers
The Valkyrie: Du Bist Der Lenz - Gundula Janowitz
The Valkyrie: O Susseste Wonne! Seligstes Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: War Walse Dein Vater, Und Bist Du Ein Walsung - Gundula Janowitz/Jon Vickers
The Valkyrie: Siegmund, Den Walsung, Siehst Du, Weib! - Jon Vickers/Gundula Janowitz
The Valkyrie: (The Ride Of The Valkyries) - BPO/Herbert Von Karajan
The Valkyrie: Leb Wohl, Du Kuhnes, Herrliches Kind! - Thomas Stewart
The Valkyrie: Der Augen Leuchtendes Paar - Thomas Stewart
The Valkyrie: Loge, Hor! Lausche Hieher! - Thomas Stewart
The Valkyrie: (Magic Fire Music) - BPO/Herbert Von Karajan

Tracks:

Siegfried: Dass Der Mein Vater Nicht Ist - Forest Murmurs - Jess Thomas
Siegfried: Nun Sing! Ich Lausche Dem Gesang! - Jess Thomas/Catherine Gayer
Siegfried: Prld To Act III. - BPO/Herbert Von Karajan
Siegfried: Wache, Wala! Wala! Erwach! - Thomas Stewart
Siegfried: (Brunnhilde's Awakening: Intro) - BPO/Herbert Von Karajan
Siegfried: Heil Dir, Sonne! Heil Dir, Licht! - Helga Dernesch/Jess Thomas
Siegfried: Siegfried! Siegfried Seliger Held! - Helga Dernesch/Jess Thomas
Twilight Of The Gods: (Orchestral Interlude) - BPO/Herbert Von Karajan
Twilight Of The Gods: Zu Neuen Taten, Teurer Helde - Helga Dernesch
Twilight Of The Gods: Mehr Gabst Du, Wunderfrau, Als Ich Zu Wahren Weiss - Helge Brilioth/Helga Dernesch
Twilight Of The Gods: (Siegfried's Rhine Journey) - BPO/Herbert Von Karajan
Twilight Of The Gods: (Funeral Music) - BPO/Herbert Von Karajan
Twilight Of The Gods: Starke Scheite Schichtet Mir Dort - Helga Dernesch
Twilight Of The Gods: Mein Erbe Nun Nehm Ich Zu Eigen - Helga Dernesch
Twilight Of The Gods: Fliegt Heim, Ihr Raben! - Helga Dernesch
Twilight Of The Gods: Conclusion 'Zuruck Vom Ring!' - Karl Ridderbusch

Customer Reviews:

Where is Karajan's Ring on amazon?.......2005-09-05

I can't find any of the four Ring operas here at amazon.com. This is very peculiar, but in case you, too, are looking for them, I can say that the Rheingold and Die Walkure are superb, but the Siegfried is vocally a catastrophe, beginning with the woeful Jess Thomas in the title role, and the Gotterdammerung is hampered by an inedequate Siegfried and a not veyr inspired dernesch as Brunnhilde. DG has remastered them all at mid-price, and the mid-Sixties analog sound was good to begin with.

not an introduction to The Ring.......2005-04-18

This is absolutely the best "highlight" collection out there -- no others come close to the range and depth of material provided. But beware, this is not an "introduction to The Ring", as some claim -- the notes are skimpy, the titles of the excerpts are untranslated, there is no libretto, no description of the excerpts -- their context or meaning -- so what you have is a great summary of the works -- one that is most useful if you already know them -- something to take along with you in the car or while jogging or walking the dog to remind you of the real thing. Bear in mind that whatever the deficiencies of this collection, the others have the same faults also.

A wonderful introduction, or a new experience.......2004-02-14

Admittedly, it is a daunting task to try to "get into" opera, and even more so with Wagner's Ring. This CD is perfect for the beginner and the more experienced listener for various reasons. First of all, it spoils you somewhat in presenting you with the best pieces of the various operas. These "bleeding chunks" certainly give you a wonderful introduction to the various motifs, and most importantly, are very long pieces. The CD manages to capture several of the different flavors present in Wagner's opera.

Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.

Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.

In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.

good introduction.......2002-06-11

this is a good way to see why it is worth getting the full Der Ring opera--all 15 CDs! having just the highlights shows you the power and majesty of Wagner's music, but skips the depth and true emotion you get out of listening to the whole opera.

Good introduction to the Ring, good value.......2001-10-05

I'm recommending this 2-disc set because it's a sensible, cost-effective introduction to Wagner's masterpiece, Der Ring des Nibelungen, commonly called the Ring. The Ring is a sequential cycle of four operas, Das Rheingold, Die Walkure, Siegfried, and Gotterdammerung. With the exception of Das Rheingold, they are all of great length (Wagner was a colossal egotist who seemed to believe that no opera could be too long if he was its composer). As a result, acquiring and getting familiar with the entire Ring is an expensive and time-consuming proposition (my choice among complete Ring recordings, the landmark Solti/Vienna Philharmonic set on Decca/London, is 14 CDs costing around $1...-$...). Wagner purists will object to any attempt to excerpt "highlights" from the Ring, and they do have a point: unlike the standard Italian and French operas, which are readily divisible into recitatives, arias, duets, etc., the Wagner operas do not lend themselves to excerpting, with the result that "highlights" sets like this one are a collection of "bleeding chunks" torn from the body of the whole work.

Nevertheless there is a need for a way to approach the Ring, to be introduced to it and to get its flavor, and this generously filled 2-disc set fills that requirement reasonably well. (Wagner's six most important non-Ring operas are similarly if somewhat less generously highlighted on a Deutsche Grammophon 2-CD set that is a companion volume to this one, drawn from various Deutsche Grammophon complete opera recordings--none conducted by Karajan--so if you buy both sets--4 CDs--you gain at least some exposure to all ten major Wagner operas.)

CD 1 (76'33 in length) gives you 31'11 of Das Rheingold (1968), and 45'20 of Die Walkure (1967), which has long been the most popular of the four Ring operas. CD 2 (77'05 in length) gives you 25'56 of Siegfried (1969), and 51'03 of Gotterdammerung (1970). All the music here is drawn from the complete Karajan/Berlin Philharmonic Ring on Deutsche Grammophon (from studio recordings made in 1967-1970; the complete Karajan/Berlin Philharmonic Ring is 14 discs, price $1...-$...) The primary criticism of von Karajan's Ring when it was initially released was that his singers are quite uneven, and some of his casting is unconventional and controversial (in particular, his "artificial" casting is problematic, i.e., singers who were chosen for the recording studio but who might not be likely to sing their roles successfully in the opera house). In addition the casting is not consistent from one opera to the next (for example, there are two different Wotans, two different Siegfrieds, two different Brunnhildes; talk about changing horses in midstream!).

On this two-CD selection of highlights we get, obviously, only a very limited exposure to the singers of the complete Ring, but we can see what the criticism was all about. The Rhine maidens are excellent. Dietrich Fischer-Dieskau, great artist though he was in his proper sphere, unfortunately kept straying out of it, as he does here: Wotan calls for a Wagnerian Heldenbariton, which Fischer Dieskau certainly was not (any more than he was a Verdi or Puccini baritone). He is out of his depth here. Gerhard Stolze's idea of doing Loge is to talk, rant, and ham it up instead of sing (one wonders if he can sing). Gundula Janowitz is an appealing Sieglinde who sings well; she is lighter-voiced and hence more fragile-sounding than usually heard in the role. Jon Vickers and Thomas Stewart stand out as Siegmund and Wotan (the second one), offering impressive, well-sung performances. (Stewart also sings the Wanderer.) The Valkyries are a weak, underpowered bunch here (compare the lusty, superior Valkyries in the Solti or Bohm sets, for example). Helga Dernesch is a Brunnhilde with a big, healthy voice, good instincts, a comfortable middle, and an effortful top (she later wisely became a mezzo). She is not in the class of Flagstad, Traubel, or Nilsson, but apart from the problematic high notes I admire her Brunnhilde. Jess Thomas is conscientious in the cruelly demanding role of Siegfried, but his voice is basically unattractive and lacks the heft and heroic quality the role demands. (To be fair to him, there hasn't been a truly satisfying Siegfried since the great Lauritz Melchior retired in 1950, and Thomas is representative of the ersatz, makeshift Heldentenorizing we've had to make do with since then.) Helge Brilioth, the second Siegfried, in the little we hear from him here, reveals a more promising voice and sounds more like Siegfried should. The great attraction here is the orchestral playing and polish, which are most impressive, as one would expect from this celebrated team of orchestra and conductor who worked so long together. One has rarely heard the orchestral score so convincingly and painstakingly brought to life, and Karajan is considerate to his hothouse crew of singers, knowing how to scale his orchestra back to let them be heard.

This 2-CD set has direct, head-on competition from a similar (and similarly priced) Philips 2-CD set of highlights from the Ring. The Philips set preserves the Bayreuth "live" performances of the Ring of 1966-67 under Karl Bohm. One of its advantages is generally superior, more involved singing, including the great Birgit Nilsson as Brunnhilde, by singers who sing the same roles throughout (no switching horses in midstream) and who actually sang their roles in the opera house (not just in the recording studio). Also, since the performances are "live," there is a certain sense of vividness, immediacy, and excitement missing in a studio recording. On the other hand, the Karajan set offers generally superior conducting and orchestral playing; his studio recording can be more note-perfect (with its opportunities for re-takes); and the sound of Karajan's set is better than that of Bohm's live performances (although still not as good as Solti's Ring, or the best more recent opera recordings).

Tracks:

Siegfried Idyll
Gotterdammerung: Dawn-
Gotterdammerung: Brunnhilde And Siegfried's Entrance (Zu Neuen Taten)-
Gotterdammerung: Siegfried's Rhine Journey
Gotterdammerung: Siegfried's Funeral March
Gotterdammerung: Brunnhilde's Immolation (Starke Scheite)

Average customer rating:

Great Opera Highlights

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Operettas | Opera & Vocal | Styles | Music
ASIN: B000000LQR
Release Date: 1997-10-07

Tracks:

Aida: Triumphant March - SO Berlin/Carl-August Bunte
The Magic Flute: 'Der Holle Rache Kocht In Meinem Herzen' - Miki Sahashi
Orpheus In The Underworld: Ov - RPO London/Norman Sattler
The Barber Of Seville: Una Voce Poco Fa - Miki Sahashi
The Barber Of Seville: Ov - Sym Festival Orch/Alfred Scholz
The Flying Dutchman: 'Summ Und Brumm' Chor - Choir And Orch Temesvar/Nicolae Boboc
The Bartered Bride: Ov - Czech PO/Libor Pesek
Carmen: Habanera - Rita Noel
The Tales Of Hoffmann: Barcarole - RPO London/Frank Shipway
William Tell: 'Qui, Vous L'Arrachez A Mon Ame' - Irene Janmillot/Tony Poncet
La Gioconda: Dance Of The Hours - LPO/Francesco Macci
La Gioconda: Final - LPO/Francesco Macci
Tosca: E Lucevan Le Stelle - Riccardo Casinelli

Panorama (Highlights from der fliegende Hollander, Lohengrin, Tannhauser, Die Meistersinger von Nurnberg, Parsifal, Tristan und Isolde)

Average customer rating:

Great overview to Wagner's non-Ring operas
Good introduction, good value

Panorama (Highlights from der fliegende Hollander, Lohengrin, Tannhauser, Die Meistersinger von Nurnberg, Parsifal, Tristan und Isolde)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Highlights from Der Ring des Nibelungen
Wagner: The Best of the Ring
Wagner: The Compact Ring (Highlights from Der Ring des Nibelungen) / Levine; Metropolitan Opera Orchestra
Panorama: Giacomo Puccini
Charles Gounod: Faust (Highlights)

ASIN: B00004XN6N
Release Date: 2000-10-17

Tracks:

Der fliegende Hollander: Overture - Chor Und Orchester Der Bayreuther Festspiele
Der fliegende Hollander: Johohoe! Traft ihr das Schiff im Meere an - Chor Und Orchester Der Bayreuther Festspiele
Der fliegende Hollander: Steuermann, lass die Wacht - Chor Und Orchester Der Bayreuther Festspiele
Lohengrin: Prelude to Act 1 - Wiener Philharmoniker
Lohengrin: Einsam in truben Tagen - Wiener Philharmoniker
Lohengrin: Brautlied - Wiener Philharmoniker
Lohengrin: In fernam Land, unnahbar euren Schritten - Wiener Philharmoniker
Tannhauser: Overture - Philharmonia Orchestra
Tannhauser: Dich, teure Halle, gruss ich wieder - Philharmonia Orchestra
Tannhauser: Pilgerchor - Philharmonia Orchestra

Tracks:

Die Meistersinger von Nurnberg: Prelude to Act 1 - Chor und Orchester der Deutschen Oper Berlin
Die Meistersinger von Nurnberg: Was duftet doch der Flieder - Chor und Orchester der Deutschen Oper Berlin
Die Meistersinger von Nurnberg: Prize Song - Chor und Orchester der Deutschen Oper Berlin
Parsifal: Prelude to Act 1 - Metropolitan Opera Orchestra
Parsifal: Good Friday Music - Metropolitan Opera Orchestra
Parsifal: Du siehst, das ist nicht so - Metropolitan Opera Orchestra
Tristan und Isolde: Prelude to Act 1 - Orchester Der Bayreuther Festspiele
Tristan und Isolde: Prelude to Act 3 - Orchester Der Bayreuther Festspiele
Tristan und Isolde: Isoldes Liebestod - Orchester Der Bayreuther Festspiele

Customer Reviews:

Great overview to Wagner's non-Ring operas.......2006-03-28

Listeners seeking an overview of Wagner's operas are well-served by this 2-cd set and its companion 2-cd set of excerpts from Karajan's performance of the 4 Ring operas. This set features excerpts from the DG operas "Der Fliegende Hollander" (Flying Dutchmman), "Lohengrin", "Tannhauser", "Die Meistersinger von Nurnberg", "Parsifal", and "Tristan und Isolde". The recorded sound is superb, and the performances flow together very well, even though the works are performed by different orchestras, conductors, and singers.

This is a very enjoyable set in a crowded and competitive field. It offers almost a 50-50 split between orchestral and vocal excerpts, so those seeking primarily orchestral excerpts might be better served by the 2-cd set of overtures conducted by Sir Adrian Boult, which contains purely orchestral excerpts from these same operas as well as a few excerpts from the four Ring operas. Those listeners who value great performance and don't mind putting up with the good but dated mono sonics from the 50s may want to seek out the excellent 2-cd set of Wagner excerpts on EMI conducted by Wilhelm Furtwanger, which offers primarily orchestral excerpts except for a stunning rendition of Brunnhilde's Immolation sung by Kirsten Flagstad. Also, George Szell conducted a single disk of orchestral excerpts from the Ring that does contain the prelude from Die Meistersinger and the prelude and Liebestod from Tristan und Isolde. I purchased all of these outstanding disks before getting this Panorama set, but I am very glad that I got this set, because of the the beauty of the choral works not contained in the other sets. Also, the interpretation of the orchestral pieces is outstanding, and I was glad to add them to the others. This set was so good, it inspired me to obtain versions of the complete operas.

Good introduction, good value.......2001-10-04

This is a sensible, cost-effective way to gain a nodding if superficial acquaintance with Wagner's six most important non-Ring operas. (The four Ring operas are similarly if somewhat more generously highlighted, in the Karajan/Berlin Philharmonic recordings, on a 2-CD Deutsche Grammophon set that is a companion volume to this one, so if you buy both sets--4 CDs--you gain at least some exposure to all ten major Wagner operas.)

CD 1 of this set (64'22 in length) gives you 21'04 of Der fliegende Hollander (The Flying Dutchman), in the Karl Bohm/Bayreuth recording (1972); 21'25 of Lohengrin, in the Claudio Abbado/Vienna Philharmonic recording (1994); and 21'53 of Tannhauser, in the Giuseppe Sinopoli/Philharmonia recording (1989). CD 2 (70'55 in length) gives you 23'15 of Die Meistersinger von Nurnberg, in the Eugen Jochum/Deutschen Oper Berlin recording (1976); 25'50 of Parsifal, in the James Levine/Metropolitan Opera recording (1994); and 21'18 of Tristan und Isolde, in the Karl Bohm/Bayreuth recording (1966). All the music here is drawn, obviously, from complete opera recordings in the Deutsche Grammophon catalog.

As you would expect from a collection so various in provenance (five different conductors, five different orchestras in four countries, a widely diverse crop of singers, with recordings spread over a period of almost 30 years), there is no uniform or consistent point of view here (such as is furnished by the single conductor and orchestra typically recording the Ring cycle of operas). But this is not necessarily a problem; these, after all, are all independent, free-standing, unrelated operas, each with its own character. The performances, singing, and sound quality here are all variable, but all are at a minimum thoroughly competent and listenable, some considerably more than that.

I'm not going to try to comment individually on the diversity of conductors and orchestras represented here. Fully half of the music here is purely orchestral (two overtures and five preludes, totaling 69 minutes). There are also three choral selections, including the bridal chorus from Lohengrin containing the famous wedding music ("Here comes the bride"), and the absolutely stunning Pilgrims' chorus from Tannhauser, rousingly performed by the men of the Covent Garden Chorus (this begins softly, as from a distance, then builds to a terrific climax, then recedes to softness again). Of the soloists who sing long enough here to matter, Gwyneth Jones as Senta gives mingled pleasure and concern: she does some attractive soft singing but occasionally sounds insecure and unsteady, her voice under marginal control. Cheryl Studer is first-rate as both Elsa and Elisabeth; this is able singing, secure from top to bottom, from soft to loud. Siegfried Jerusalem as Lohengrin sings well and sensitively when singing softly or at middle voice; when he opens up, his voice becomes more problematic, and there is strain on top.

Dietrich Fischer-Dieskau (Hans Sachs), great artist though he was in his proper sphere, unfortunately kept straying out of it, as he does here: Hans Sachs, one of the greatest of baritone roles, is for a Wagnerian Heldenbariton, and this Fischer-Dieskau certainly was not. He sounds lightweight, underpowered, and somewhat fussy; sometimes he blusters, sometimes he croons, but he's no Hans Sachs (to hear what can be done with this role you have to go back to earlier recordings by Friedrich Schorr). Placido Domingo (Walther von Stolzing and Parsifal), a famously versatile and capable all-around tenor (an opera-house manager's dream who could, and would, sing just about any role), offers pleasing, sensitive singing in both roles; some have complained that he doesn't sound idiomatic in Wagner, but I'll take his secure, musicianly singing any day over what we usually get these days in Wagner tenor roles. Kurt Moll is an imposing, rich-voiced Gurnemanz.

The most memorable singing here comes from Birgit Nilsson in Isolde's Liebestod; she was the greatest Wagnerian soprano of the second half of the twentieth century (Flagstad and Traubel had seen their best days by 1950), and some would add that she was the only great Wagnerian soprano of the second half of the twentieth century. None of the other singers heard here are in her class as Wagnerians, or, indeed, in terms of basic vocal endowment. She is secure, rock solid, strong on top, commands an enormous dynamic range (she closes on a beautiful pianissimo note), and hearing her unleash her huge voice and letting it soar out over the orchestra is thrilling. This is the kind of singing that hasn't been heard since Flagstad and Traubel from anyone but Nilsson; her Liebestod reminds us of what the seemingly vanishing art of heroic Wagner singing is all about.

Tracks:

Leonore Ov No.3
Nabucco: Va, Pensiero
The Moldau
Scherzo, La Reine Mab
Academic Festival Ov
Die Walkure: Ride Of The Valkyries
La Boheme: O Soave Fanciulla
William Tell Ov

Customer Reviews:

The Best of Toscanini.......2006-02-03

If one has NEVER heard any of the recordings of Arturo Toscanini (1867-1957) with the NBC Symphony Orchestra, this is an excellent starting place.

First of all, it should be stated for those unfamiliar with Toscanini or the NBC Symphony Orchestra that this was an amazing story. David Sarnoff, the founder of RCA and NBC, wanted to have a first-rate symphony orchestra to broadcast on NBC radio and to make recordings for RCA Victor. Although Sarnoff wasn't a musician, he recognized that the Italian conductor Arturo Toscanini was probably the greatest conductor of his day.

Toscanini had begun conducting in 1886, when he was 19, when he substituted on short notice to conduct a performance of Verdi's opera "Aida" by a touring Italian company in Rio de Janeiro, Brazil. Up until then Toscanini had been a gifted cellist and had assisted in rehearsing the chorus. When the scheduled conductor was fired, Toscanini ended up conducting the performance. He actually conducted the complete opera by memory and was a great success. This eventually led to additional conducting positions, with increasing success. Eventually he served as music director of La Scala in Milan, Italy; the Metropolitan Opera in New York City; and the New York Philharmonic Orchestra.

Toscanini retired in 1936 from the Philharmonic. He continued to guest conduct and Sarnoff decided to build an orchestra specially for Toscanini. Fortunately, Toscanini agreed to Sarnoff's proposal and the NBC Symphony Orchestra rehearsed and performed under several conductors before Toscanini arrived to conduct a broadcast concert on Christmas night, 1937. The broadcasts and recordings continued until the spring of 1954, when Toscanini finally retired at the age of 87. He died on January 16, 1957, in New York City.

This disc includes recordings made by Toscanini and the NBC Symphony Orchestra from 1939 to 1953. They are well-chosen and give a good idea of Toscanini's versatility and his considerable musical abilities.

Beethoven's "Leonore Overture No. 3" is taken from an NBC broadcast concert in 1939 in Studio 8-H, which was the primary home of the NBC Symphony from 1937 to 1950. (Later NBC broadcasts originated exclusively from Carnegie Hall. Studio 8-H today is used for telecasts including "Saturday Night Live.") This is an astonishing performance, played with great feeling and considerable animation. The incredible drive that was a trademark of Toscanini's conducting can be realized in this performance, which surpasses the rendition during the 1944 broadcast performances of the complete opera "Fidelio." (Beethoven composed FOUR overtures for his only opera. The final overture he composed is usually played at the beginning and the third version, included on this disc, is often played between the first and second acts.)

Toscanini knew the Italian operatic composer Verdi and he had a special fondness for the chorus "Va, Pensiero," from Verdi's early opera "Nabucco." Toscanini conducted this same music at the funeral for Verdi in January 1901 and it was played at Toscanini's own funeral in January 1957. This is very patriotic, deeply moving music and, in Toscanini's hands, it is especially moving.

Bedrich Smetana's "The Moldau" is from a set of six symphonic poems called "My Fatherland." Toscanini's amazing 1950 recording in Studio 8-H is absolutely sensational. He succeeds in capturing the various moods of the Moldau River as it winds through the Bohemian countryside. It is a very spectacular and delightful performance.

Toscanini recognized the special magic of the "Queen Mab" scherzo in Hector Berlioz's telling of Shakespeare's "Romeo and Juliet." The renowned string section of the NBC Symphony is particularly impressive in playing this delicate, mysterious, and precise music.

Brahms' "Academic Festival Overture" is played with great precision and brilliance in this performance from an NBC broadcast concert in Studio 8-H in 1948. The listener can enjoy the various German university songs that Brahms quoted in this wonderful music; seldom have they been performed with such enthusiasm and intensity.

"The Ride of the Valkyries" may be the most famous piece of music composed by Richard Wagner. Toscanini succeeded in giving this thrilling music the most spectacular performance in his 1952 recording session in Carnegie Hall.

In 1946, Toscanini observed the 50th anniversary of the world premiere of Puccini's "La Boheme" with a complete performance of the work over the NBC radio network. (Toscanini had actually conducted the world premiere in 1896.) Soprano Licia Albanese and tenor Jan Peerce were among the featured singers and they are heard, along with Toscanini's humming, in the finale to Act I, "O Soave Fanciulla." This music has seldom been performed with more feeling.

Finally, there is the delightful 1953 recording of Rossini's overture to his final opera, "William Tell." This represents the highest fidelity achieved in Toscanini's RCA Victor recordings and it is one of his best performances. No matter how familiar one may be with this music, this is a stellar performance. The storm and the chase were seldom played with more energy and enthusiasm.

RCA first released digitally remastered versions of Toscanini's recordings in 1990, drawing from the original masters whenever possible. Ten years later, further refinements in the digital process led to even better versions of these legendary recordings. All in all, these CDs have helped to preserve the legacy of Toscanini's numerous recordings, from 1920 to 1954.

Wagner: The Flying Dutchman, Lohengrin, Tannhäuser (Orchestral Highlights)

Average customer rating:

Slow, deliberate, detailed, weak on bass

Wagner: The Flying Dutchman, Lohengrin, Tannhäuser (Orchestral Highlights)

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B0000013KQ
Release Date: 1992-06-30

Tracks:

The Flying Dutchman Ov
Tannhauser Overture
Venusberg Music
Entrance of the Guests from Act II
Tannhauser's Pilgrimage (Introduction to Act III)
Lohengrin: Prld
Lohengrin: Introduction to Act III

Customer Reviews:

Slow, deliberate, detailed, weak on bass.......2004-10-14

This is, of course, not a CD for Wagner fanatics; rather, it is for people like me who have heard nothing much good about him but still want to satisfy their curiosity (but at budget price). In the circles that I move in, Wagner's reputation is not good, and I was doubtful as to whether I should listen to this at all. Having done so, I can only say that the experience was not half as dreadful as I had anticipated, although Wagner's music itself is not really my 'cup of tea' as we say in England: despite some melodious interludes, it tends to be too diffuse for my taste, while some aspects make me wonder what must have been going on in a brain that could produce such stuff. But having said that, this Naxos production, while definitely not top class and being rather weak on bass, has the advantage of a fairly clear-sounded recording and of some very deliberate playing by the Slovak musicians which enables one to hear and perceive a lot of detail from these busy, busy scores. The overture from the 'Flying Dutchman', the best-known of the pieces played, is probably also the weakest on the disc; a comparison with the 1960 Philips production with the Vienna Symphonic Orchestra ('Wiener Symphoniker') directed by Wolfgang Sawallisch, also available at budget price, showed up the limits of the Slovak production very clearly, the Austrian orchestra being superior in almost every department (although the quality of the digital re-mastering leaves a lot to be desired). With the 'Venusberg Music', one could say the same, but Halász does have the advantage of putting this in its context by playing it as a direct continuation of the rather lovely overture to Tannhäuser. Halász also adds the Entrance of the Guests from Act II and Tannhäuser's Pilgrimage, both of which pieces seem to me to be the highlights of this recording. The 'Lohengrin' excerpts again seem a little too deliberate. All in all, a helpful, educative disc that might make you want to listen to more Wagner if you are that way inclined.

Average customer rating:

Listenable disc for Wagner 'newbies'

Wagner: Orchestral Highlights

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B0000013SS
Release Date: 1994-02-15

Tracks:

Die Meistersinger Von Nurnberg: Ov
Tristan Und Isolde: Prld To Act I/Isolde's Liebestod
Parsifal: Prld To Act I
Siegfried Idyll
Goterrdammerung: Immolation Of The Gods

Customer Reviews:

Listenable disc for Wagner 'newbies' .......2004-10-14

This is Naxos' third disc with orchestral music from Wagner's immense work, and although it cannot perhaps match up to some full-price performances by top-class teams, it seems to me to be an eminently 'listenable' disc containing some of Wagner's quieter, more meditative music in acceptable sound quality (the stereo panorama is better than on some of Naxos' earlier productions). The Polish NRSO had, in December 1990, not quite reached the standards it later set under Antoni Wit, but Johannes Wildner obviously managed to spur the orchestra on to a more than respectable achievement. The overture to the 'Meistersinger von Nürnberg' is a rather noisy piece which I felt did not come over as well as the three following tracks: Isolde's 'Liebestod', the Prelude to Act 1 of Parsifal and the Siegfried-Idyll. The tempi are kept very slow and deliberate here (for the Siegfried-Idyll Wildner needs a full three and a half minutes longer than Wolfgang Sawallisch with the Vienna Symphony Orchestra on Philips), which can, on occasion, be a little soporific, but does make it possible to revel in every detail of the score. (Sawallisch's instruments sound rather more polished.) The disc closes with the 'Immolation of the Gods' from the 'Götterdämmerung', bringing together lots of Wagner's leitmotifs. This is definitely not a disc for Wagner buffs; it is one for 'newbies' like myself who are curious to find out why Wagner is revered and/or hated without having to listen to his massive operas all through.