In Bayreuth

On this CD:

1. Prologue (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition)
Composed by Peter Stangel
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

2. Lilith (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Lilith
Composed by Peter Stangel
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

3. Rachel (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Rachel
Composed by Jorg Widmann
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

4. Lea (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Lea
Composed by Jorg Widmann
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

5. Ada (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Ada
Composed by Joern Hinkel
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

6. Esters Gesang (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Esters Gesang
Composed by Julia Cibisescu
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

7. Schimschon und Dlila (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Schimschon und Dlila
Composed by Minas Borboudakis
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

8. Judith(from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Judith
Composed by Antje Uhle
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

9. Epilog (from Lilith: 9 songs of dark love after Biblical Scenes from the Old Testament, a joint composition) Epilog
Composed by Peter Stangel
Performed by Giora Feidman, Komponisten Wo 46 Internationalen Jugend-Festspieltreffens Bayreuth

Tracks:

Introduction
I. Grand Entrance
II. Simply Grand Minuet
III. Romance In The Grand Manner
IV. Rondo Mucho Grando
Introduction
I. Mr. Minuit's Minuet - David McGill
II. Panther Dance - David McGill
III. Dance Of The Grand Dams - David McGill
IV. The Lowland Fling - David McGill
Introduction
I. Maestoso Animoso
II. Daintissimo
III. Allegro, But Not Too Mucho
IV. Molto Moderato
V. Vivace Cucarace
VI. Moving Right Alongo
Introduction
Lip My Reeds
Door Prize Scene
Introduction
March Of The Cute Little Wood Sprites
Introduction
Last Tango In Beyreuth
Closing

Customer Reviews:

The consummate Schicekle.......2004-01-07

This isn't the old PDQ Bach, e.g., Concerto for Horn and Hardart--which was also good. It's "evolved," insofar as PDQ Bach is capable of evolution...

When my wife gave this to me for Christmas, I turned it on and thought it was a live performance, like the first albums--and like the Schickele performances we've happily attended. It took a few seconds to realize that it was a mock performance, of the Turtle Mountain Naval Base Tactical Wind Ensemble (who are also, as announced by Professor Schickele, busy protecting North Dakota from naval attack, a clever comment making the CD all the more worth it!) at a convenient North Dakota location.

As a Wagnerian, I was attracted to "Last Tango in Beyreuth," the last musical number on the CD. If I may paraphrase Schickele's statement of a long time ago, when you listen to it, be prepared to hear things you've heard before (PDQ's real talent having been in plagiarism, after all.)

And, since Schickele was a bassoon major, it's amusing that he picks on that instrument--for perhaps the best piece ever composed for bassoon and tuba. Then there are the pieces by the Tennessee Bassoon Quartet, an ensemble for which there are surely limited venues...

I heard one of PDQ's other numbers, Concerto for Two Piano's vs. Orchestra a few years ago. Schickele gave an hysterical historical presentation on that piece. I talked with him about it afterwards and suggested that too be put onto a CD. He said in essence that the market may not have room for it these days; renouned violinists and pianists are not sellable these days. That's distressing as Schickele's comedy form is beyond genius, and unique. So, while you can, listen to what's available. This is a gem!

Hysterical and not at all Esoterical.......2001-01-06

P.D.Q. Bach brings a funny irreverance to his subject material that is charming. He is at times on NPR (National Public Radio) and if you've ever heard him, you know what I mean. He obviously is an expert in his field, but he is outrageously funny in his parodies of famous music. Who would have thought one could bring a sense of humour to Wagner? Get this cd - or anything by PDQ - and I guarantee you're in for some laughs. You may even learn something!

Not to be taken seriously..........2000-10-08

"P. D. Q. Bach. The last and least of J. S. Bach's twenty-odd children (and by far the oddest), this composer would have passed into the mists of oblivion were it not for the determined efforts of the Music Department at the University of Southern North Dakota at Hoople, directed by Professor Peter Schickele.

This disc, played by the Turtle Mountain Naval Base Tactical Wind Ensemble with some help from the astounding Tennessee Bassoon Quartet, was made during a concert at the University and is introduced by Professor Schickele. The event was clearly organised as an attempt at making the music of P. D. Q. Bach accessible to regular concert goers. It did not succeed: as the intermittent speech between items shows, the programme of P. D. Q. Bach's various works for wind orchestra and percussion managed to drive away not only most of the audience but even the orchestra. Furthermore, the music itself is shambolic: a complete waste of time that makes one wonder how Professor Schickele ever managed to get it published."

Actually, I only half-meant what I said above. This really is the ultimate in what is known as the letting down of hair amongst musicians: every so often, even the most serious of concert performers love to play something that is light-hearted and to be taken simply at face-value, without stuffy programme notes or flambuoyant virtuosity. And P. D. Q. Bach's music, faithfully "edited" by Peter Schickele, is not just light-hearted: it's downright flippant! This disc is a superb pick-me-up in cheerless moments, an entertaining fifty-odd minutes of musical mayhem pushed to interesting and comical limits, and an excellent gift for any musical members of the family who want to add a bit of zest to any classical music collection. Purists may scoff at the fact that this whole thing pokes fun at the music of Bach and other great composers, but it's good clean fun that still retains an element of musicality. Bravo! I just hope they invent a cure for split sides soon....

Great Music.......2000-06-18

This is a very intertaining album. From the Grand Serenade to Mr. Minute's Minuet to the cute little Wood Sprites. It's all very funny--even the booklet is funny. All in all it's very good.

Music at its best!.......2000-06-03

As a high school musician, I have played the piece Grand Serenade for an Awful Lot of Winds and Percussion. Playing it was so much fun and listening to it was too. I'm sure everyone else who listens to this music will enjoy it just as I have. Just imagine a large wind ensemble, serious as can be, playing Grand Serenade!

Average customer rating:

Real fun music
The Bassoon Brothers- Bassoon Ambassadors to the World!
Great Album
Not for stiffs!
Not my favourite, but...

Wanted-The Bassoon Brothers

Manufacturer: Crystal Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I8JJ
Release Date: 1999-03-09

Tracks:

Funeral March Of A Marionette
Alexander's Ragtime Band
Fantasy #1 (From Concerto in F)
Hall Of The Mountain King
The Wedding Guest
Georgia On My Mind
Pizzicati
Bugler's Holiday
Last Tango In Bayreuth
Scherzo Pour 4 Bassons
Bewitched
Dragoons (From Carmen)
Blue Set No.2 For Four Bassoons: Bassooner Or Later
Blue Set No.2 For Four Bassoons: Portlandia In Cerulean
Blue Set No.2 For Four Bassoons: Gang Of Wolves
Blue Rondo A La Turk
Frippery #19
Frippery #2
Night Train
Red River Valley

Customer Reviews:

Real fun music.......2004-03-03

I found this item while looking up items about Peter (PDQ Bach) Schickele, whose instrument is the Bassoon. The selection of items reflect the current no so serious status of the unusual sound of this instrument.

The Bassoon Brothers- Bassoon Ambassadors to the World!.......2003-12-16

Wanted- The Bassoon Brothers is hands down our entire family's favorite CD. (Our second favorite is Captured- The Bassoon Brothers.) After hearing this CD we are all bassoon enthusiasts and Bassoon Bros. devoted fans. My 11 year old, inspired by the Bassoon Brothers, is now a bassoonist with a youth symphony orchestra. The Bassoon Brothers' level of skill and musicianship is the highest, their selections are witty, their arrangements are wonderful, and the CD is a gem! The "Brothers" raise up their bassoons celebrating the instrument's solo and small ensemble capabilities, demonstrating its elegant, eloquent, and expressive voice. Great listening! Great entertainment!

Great Album.......2003-01-14

I played bassoon for 11 or so years. I wish I'd had an album such as this one back then; I might have kept up with it. The Bassoon Brothers are quite talented, as their recording shows, and the arrangements imaginitive and often amusing. They take a few liberties with some well-known pieces, so if you're a die-hard classical purist, this album may not be for you.

If you're a bassoonist yourself, and you're looking for a fresh sound for our instrument, I heartily recommend this album. I enjoyed it immensely. Who knew bassoons could be so cool?

Not for stiffs!.......2001-10-25

The bassoon is usually thought of as only slightly less comical than the trombone and enjoyed mostly by those infinitely more anally retentive. Its unique sound has no pretenders. So, I love both it and this CD. In fact, I ended up with two copies, so I offered the other, gratis, to the bassoon professor at a local, very famous music college here in Tokyo. He required that I submit a written list of pieces on it, which he would then evaluate and make a decision as to whether it would merit his acceptance. Uh huh. A new twist on THAT retentive. Anyway, "Wanted" is funny, it often swings, it's sometimes gets a bit outside, it occasionally gets down with some stink on it, and it's thoroughly creative.

Not my favourite, but..........2001-10-12

I like bassoon quartets and have a tendency to buy all bassoon quartet records I see. Luckily for my wallet I don't see that many. The Bassoon Brothers CD is not my favourite bassoon quartet recording, in fact it's my least favourite but despite that it's not that bad and some of the tracks are actually quite good.

So, what's bad? Some of the songs are played too "rough". I'm especially thinking of Gounod's Funeral March and Anderson's Buglers Holiday, which I've heard done wonderfully elsewhere. Bugler's Holiday is almost downight bad. I generally think they could have gained from a bit more polished playing style.

But some tracks are well played: Alexanders Ragtime Band has a nice thing going and Dubois' Scherzo as well. And I like the Dragoons from Carmen...

Tracks:

Impromptus: Impromptu No. 1 In E Flat Major, Op. 25 (1881)
Impromptus: Impromptu No. 2 In F Minor, Op. 31 (1883)
Impromptus: Impromptu No. 3 In A Flat Major, Op. 34 (1883)
Impromptus: Impromptu No. 4 In D Flat Major, Op. 91 (1906)
Impromptus: Impromptu No. 5 In F Sharp Minor, Op. 102 (1909)
Impromptu: Impromptu No. 6 In D Flat Major, Op. 86 bis (1904)
Th et Variations, Op. 73 (1895): Th
Th et Variations, Op. 73 (1895): Variation I (L'istesso tempo)
Th et Variations, Op. 73 (1895): Variation II (Piso)
Th et Variations, Op. 73 (1895): Variation III (Un poco piso)
Th et Variations, Op. 73 (1895): Variation IV (L'istesso tempo)
Th et Variations, Op. 73 (1895): Variation V (Un poco piso)
Th et Variations, Op. 73 (1895): Variation VI (Molto adagio)
Th et Variations, Op. 73 (1895): Variation VII (Allegro moderato)
Th et Variations, Op. 73 (1895): Variation VIII (Andante molto moderato)
Th et Variations, Op. 73 (1895): Variation IX (Quasi adagio)
Th et Variations, Op. 73 (1895): Variation X (Allegro vivo)
Th et Variations, Op. 73 (1895): Variation XI (Andante molto, moderato espressivo)
Trois Romances sans paroles Op. 17 (c1863): No. 1, Andante quasi allegretto
Trois Romances sans paroles Op. 17 (c1863): No. 2, Allegro molto
Trois Romances sans paroles Op. 17 (c1863): No. 3, Andante moderato
Valse-caprices: No. 1 In A Major, Op. 30 (1882)
Valse-caprices: No. 2 In D Flat Major, Op. 38 (1884)
Valse-caprices: No. 3 In G Flat Major, Op. 59 (1887-1893)
Valse-caprices: No. 4 In A Flat Major, Op. 62 (1893-4)

Tracks:

Barcarolle No. 1 In A Minor, Op. 26 (1880)
Barcarolle No. 2 In G Major, Op. 41 (1885)
Barcarolle No. 3 In G Flat Major, Op. 42 (1885)
Barcarolle No. 4 In A Flat Major, Op. 44 (1886)
Barcarolle No. 5 In F Sharp Minor, Op. 66 (1894)
Barcarolle No. 6 In E Flat Major, Op. 70 (1896)
Barcarolle No. 7 In D Minor, Op. 90 (1905)
Barcarolle No. 8 In D Flat Major, Op. 96 (1906)
Barcarolle No. 9 In A Minor, Op. 101 (1909)
Barcarolle No. 10 In A Minor, Op. 104, No. 2 (1913)
Barcarolle No. 11 In G Minor, Op. 105 (1913)
Barcarolle No. 12 In E Flat Major, Op. 106 bis (1915)
Barcarolle No. 13 In C Major, Op. 116 (1921)
Ballade pour piano seul, Op. 19 (1877-1879)

Tracks:

Nocturne No.1 In E Flat Minor Op. 33 No.1(c1875)
Nocturne No.2 In B Major Op. 33 No.2(c1880)
Nocturne No.3 In A Flat Major Op. 33 No.3(1882)
Nocturne No.4 In E Flat Major Op. 36(?1884)
Nocturne No.5 In B Flat Major Op. 37(?1884)
Nocturne No.6 In D Flat Major Op. 63(1894)
Nocturne No.7 In C Sharp Minor Op. 74 (1898)
Souvenirs de Bayreuth (With Andre Messager)(1888)
Huit pieces breves Op. 84 (1869-1902): Capriccio In E Flat Major
Huit pieces breves Op. 84 (1869-1902): Fantaisie In A Flat Major
Huit pieces breves Op. 84 (1869-1902): Fugue In A Minor
Huit pieces breves Op. 84 (1869-1902): Adagietto In E Minor
Huit pieces breves Op. 84 (1869-1902): Improvisation In C Sharp Minor
Huit pieces breves Op. 84 (1869-1902): Fugue In E Minor
Huit pieces breves Op. 84 (1869-1902): Allegresse In C Major
Huit pieces breves Op. 84 (1869-1902): Nocturne No. 8 In D Flat Major

Tracks:

Dolly, Op. 56: Berceuse (1894)
Dolly, Op. 56: Mi-a-ou (1896)
Dolly, Op. 56: Le jardin de Dolly (1896)
Dolly, Op. 56: Kitty-Valse (1896)
Dolly, Op. 56: Tendresse (1896)
Dolly, Op. 56: Le pas espagnol (1897)
Neuf Prdes, Op. 103 (1910-11): No. 1 In D Flat Major
Neuf Prdes, Op. 103 (1910-11): No. 2 In C Sharp Minor
Neuf Prdes, Op. 103 (1910-11): No. 3 In G Minor
Neuf Prdes, Op. 103 (1910-11): No. 4 In F Major
Neuf Prdes, Op. 103 (1910-11): No. 5 In D Minor
Neuf Prdes, Op. 103 (1910-11): No. 6 In E Flat Minor
Neuf Prdes, Op. 103 (1910-11): No. 7 In A Major
Neuf Prdes, Op. 103 (1910-11): No. 8 In C Minor
Neuf Prdes, Op. 103 (1910-11): No. 9 In E Minor
Mazurka In B Flat Major, Op. 32 (c1878)
Nocturne No. 8 In D Flat Major From Op. 84 (1902)
Nocturne No. 9 In B Minor, Op. 97 (1908)
Nocturne No. 10 In E Minor, Op. 99 (1908)
Nocturne No. 11 In F Sharp Minor, Op. 104, No. 1 (1913)
Nocturne No. 12 In E Minor, Op. 107 (1915)
Nocturne No. 13 In B Minor, Op. 119 (1921)

Customer Reviews:

Dull.......2007-03-09

The previous reviewer was right about Faure's piano music being of "introspective moods, rich chromatic textures, subtle expressivity and sheer tonal beauty", however, I heard very little of that in Stott's playing.

If lifelessness is what equates introspection for the critics that praised these recordings, then Stott's Faure deserves every award it's gotten. The fact is, her playing seriously lacks the "chromatic textures, subtle expressivity and sheer tonal beauty" that is so important for Faure, and the only reason these recordings are so highly praised is because of patriotic bias. Even the Naxos bargain offerings by Volondat is much better.

Penguin Rosette Award Winner.......2006-03-22

Faure's piano music is autobiographical in which the earlier pieces exude a more simple, upbeat optimism which yields to greater austerity, ambiguity, unpredictability and melancholy in the later works. Yet, his music always retains its civility and french beauty in spite of emotionalal, tempestuous episodes. If you gravitate towards piano music of introspective moods, rich chromatic textures, subtle expressivity and sheer tonal beauty, then definately consider this rather equisite music by one of the more humble composers of the magical salon, romantic era of Paris.

Pianist Kathryn Stott seems to have the type of personna and style that is well-suited for the gentile, urbane and somewhat understated music of Faure. Ms. Stott has focused her career primarily on the chamber and solo repertoire, and within that, mostly on 19th-century French music. She is one of today's most prominent proponents of French music - so much so that the French government awarded her special recognition as such. Some of her work includes performances with the ever-popular Yo-Yo Ma ("La Belle Epoque") as well as several for Hyperion (whose artists tend to only be of the "upper shelf" category).

Even hearing a few pieces of this landmark set reveals the typical emphasis on elegance and beauty within French music in general. The Penguin Guide awarded this four-CD set a PENGUIN ROSETTE citing while Gramophone gave it a "Critic's Choice" award - both of which certainly says something positive if you are thinking of purchasing it. Also each of the four CD's contains a generous 70+ minutes with the typically clear and brilliant Hyperion sound. Again, if you like solo piano music that coaxes and caresses with nuance rather than shouts to make its point, then Stott's complete Faure set here should give a lifetime of refreshment and inspiritation. Here are some other mainstream press reviews on this CD (also see Stott's other single-disc highlight CD for more Amazon reviews).

'One of the most purely pleasurable releases of the year so far. The playing is intelligent, persuasive, Ioving, and the music reaches far beyond the standard boundaries of fin de si?cle French salon style. Four outstanding discs' (The Independent)

'Sumptuously recorded. A true and dedicated Francophile [Kathryn Stott] is clearly among the more stylish and intriguing of all young pianists' (Gramophone)

'She deserves an honoured place beside the most distinguished Faure exponents ... A major achievement in every way' (Classic CD)

'A tremendous achievement' (BBC Music Magazine)

'A major contribution to the recorded literature of French piano music, strongly recommended' (Fanfare, USA)

Average customer rating:

Bayreuth 1936

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000000SHG
Release Date: 1993-07-06

Legendary Wagner Singers of the 1930s (Telefunken Legacy Series)

Average customer rating:

Rare and Brilliant Performances of Wagner

Legendary Wagner Singers of the 1930s (Telefunken Legacy Series)
Max Lorenz , Berlin Philharmonic , and Bayreuth Orchestra
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
ASIN: B000059QUO
Release Date: 2001-06-05

Tracks:

Tannhauser, Act II: Dich, Teure Halle, Gruss' Ich Wieder - Hilde Konetzni/Hans Schmidt-Isserstedt
Tannhauser, Act II: Blick Ich Umher - Rudolf Bockelmann
Tannhauser, Act III: Wohl Wusst' Ich Hier Sie Im Gebet Zu Finden - Herbert Janssen
Tannhauser, Act III: Wie Todesahnung (O, Du Mein Holder Abendstern) - Herbert Janssen
Lohengrin, Act I, Scene 2: Einsam In Truben Tagen - Maria Reining/Deutschen Opernhauses, Berlin Mannerchor
Lohengrin, Act I, Scene 3: Mein Herr Und Gott (Konigsgebet - Margarete Klose/Maria Muller/Josef Von Manowarda/Jaro Prohaska/Franz Volker/Festspielhauses...
Lohengrin, Act II, Scene 2: Euch Luften, Die Mein Klagen - Maria Reining
Lohengrin, Act III, Scene 2: Das Susse Lied Verhallt - Franz Volker/Maria Muller
Lohengrin, Act III, Scene 3: In Fernem Land (Gralserzahlung) - Franz Volker/Festspielhauses Bayreuth Chor
Tristan Und Isolde, Act II, Scene 3: Mild Und Leise Wie Er Lachelt (Isoldes Liebstod) - Gertrud Bindernagel
Die Meistersinger, Act I, Scene 3: Am Stillen Herd - Helge Roswaenge
Die Meistersinger, Act II, Scene 3: Was Duftet Doch Der Flieder - Rudolf Bockelmann
Die Meistersinger, Act III, Scene 5: Silentium - Wach Auf! Euch Macht Ihr's Leicht - Hans Reinmar
Die Meistersinger, Act III, Scene 5: Verachtet Mir Die Meister Nicht - Hans Reinmar

Tracks:

Das Rheingold, Scene 4: Abendlich Strahlt Der Sonne Auge - Rudolf Bockelmann
Die Walkure, Act I, Scene 3: Wintersturme Wichen Dem Wonnemond Siegmund Heiss Ich - Franz Volker/Maria Muller
Die Walkure, Act III, Scene 3: Wotans Abschied - Feuerzauber - Hans Reinmar
Siegfried, Act I, Scene 2: Nothung, Nothung, Neidliches Schwert (Schmelzlied) - Willi Storring
Siegfried, Act I, Scene 2: Schmiede, Mein Hammer, Ein Hartes Schwert (Schmiedelied) - Willi Storring
Siegfried, Act I, Scene 2: Nothung, Nothung, Neidliches Schwert (Schmelzlied) - Max Lorenz
Siegfried, Act I, Scene 2: Schmiede, Mein Hammer, Ein Hartes Schwert (Schmiedelied) - Max Lorenz/Erich Zimmermann
Siegfried, Act II: Dass Der Main Vater Nicht Ist (Waldweben) - Max Lorenz
Gotterdammerung, Act III: Starke Scheite - Anni Konetzni

Amazon.com

A mandatory set for Wagnerians and lovers of great singing. Here are some of the leading lights of German opera in recordings made between 1929 and 1939. The absence of the great Wagnerians of the period, such as Melchior, Schorr Lieder, and Flagstad, should trouble no one, since their recordings are easily available and their lesser-known contemporaries are very close to their exalted level. It would be hard to imagine, for example, better Wagnerian baritones than Rudolf Bockelmann, whose big, bold voice is compelling in arias from Tannh&aauml;user and Das Rheingold, and Herbert Janssen, who marries a beautiful voice to verbal sensitivities that make his Tannh&aauml;user excerpts so overwhelming. The set abounds in terrific tenors, too--Franz Völker, whose magnificent Lohengrin excerpts are highlights; Helge Roswaenge, whose bright, forward voice makes "Am stillen Herd" from Die Meistersinger another highlight; and the often erratic but always passionate Max Lorenz, heard in the Ring excerpts.

There are welcome surprises as well. Baritone Hans Reinmar's Sachs and Wotan may lack the tonal colors of his rivals, but he sings with feeling and sensitivity. Willi Storring's Siegfried scenes are done in a gleaming, thrustful, lighter voice than we're used to, but it's no less effective, even matching Lorenz, whose recordings of the scene follow. The women are almost as good--the famed Konetzni sisters, Maria Müller, and Maria Reining (especially touching in "Euch Lüften" from Lohengrin all contribute mightily. Bryan Crimp's transfers are superb, taming distortion and rendering the voices with a weight and presence that defy time. --Dan Davis

Customer Reviews:

Rare and Brilliant Performances of Wagner.......2002-01-11

The title of this CD is a little disingenuous (''Great Wagner Singers of the Nazi Era'' would have been more honest), but it's an impressive issue. Nostalgic packaging make it look like an old album of 78s from the 1930s, and the notes by Jürgen Kesting give you a good sense of who these (mostly obscure) singers are. Don't look for Wagnerian stalwarts such as Freida Leider, Kirsten Flagstad or Lauritz Melchior. The singers on this CD are probably unknown to the casual Wagnerite, but their performances are impressive.

I was particularly engrossed by Willy Störring's rendition of two tracks from ''Siegfried.'' Störring is nothing short of electrifying -- far more impressive than anyone you'll find singing the part in an opera house today. I would say that those two tracks alone make the set worth buying, but there's plenty more performances that are, if not as impressive, than nearly as enjoyable (including four tracks recorded live at the 1936 Bayreuth festival).

Tracks:

Act I: Ov - The Bayreuth Festival Orch/Karl Elmendorff
Act I, Scene I: Venusberg Music
Act I, Scene I: Chor Of Sirens
Act I, Scene II: Geliebter, Sag'
Act I, Scene II: Dir Tone Lob!
Act I, Scene II: Treuloser! Zieh'n
Act I, Scene II: Stets Soll Nur Dir
Act I, Scene III: Frau Holda Kam Aus Dem Berg
Act I, Scene IV: Wer Ist Der Dort
Act I, Scene IV: Als Du In Kuhnem Sange (To End Of Act I)
Act II: Intro - The Bayreuth Festival Orch/Karl Elmendorff
Act II, Scene I: Dich, Teure Halle
Act II, Scene I: Dort Ist Sie (Fade Within Aria, Resumed In Second Record)

Tracks:

Act II, Scene III: Doch Welch Ein Seltsam Neues Leben (Concl. Of Aria, And Segue)
Act II, Scene IV: Freudig Begrussen Wir Die Halle
Act II, Scene IV: The Minstrels' Tournament
Act II, Scene IV: (Score Cut) Zuruck Von Ihm!
Act II, Scene IV: (Score Cut) Darf Ich Auch Niemals
Act II, Scene IV: Ein Furchtbares Verbrechen (To End Act II)
Act III, Scene I: (Intro Omitted) Wohl Wusst'ich
Act III, Scene I: Allmacht' Ge Jungfrau
Act III, Scene II: (Score Cut) Wie Todesahnung... Dascheinest Du
Act III, Scene III: (Minor Score Cut) Inbrunstim Herzen (To End Of Opr)

Wagner: Die Meistersinger von Nurnberg / Barenboim

Average customer rating:

Barenboim Conducts A Fine Score But The Singers Are Bland
A Fearless,Genuine Walther
Near Perfect Recording
Fantastic!
Excellent sound and tight, exciting conducting!

Wagner: Die Meistersinger von Nurnberg / Barenboim
Richard Wagner , Daniel Barenboim , Matthias Holle , Andreas Schmidt , Peter Seiffert , Bayreuth Festival Orchestra , and Robert Holl
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Wagner: Der Ring des Nibelungen

ASIN: B00004U5AG
Release Date: 2000-09-05

Tracks:

Die Meistersinger von Nurnberg: Vorspiel
Die Meistersinger von Nurnberg: Erster Aufzug - Erste Szene - Da zu dir der Heiland kam (Die Gemeinde)
Die Meistersinger von Nurnberg: Verweilt! Ein Wort - ein einzig Wort! (Walther, Eva, Magdalene)
Die Meistersinger von Nurnberg: Ach, David! David! (Magdalene, David, Walther, Eva)
Die Meistersinger von Nurnberg: Zweite Szene - David! Was stehst? (Lehrbuben, David, Walther)
Die Meistersinger von Nurnberg: Mein Herr! Der Singer Meister - Schlag (David, Walther)
Die Meistersinger von Nurnberg: Der Meister Ton' und Weisen (David, Walther, Lehrbuben)
Die Meistersinger von Nurnberg: Nur dies noch (Walther, David, Lehrbuben)
Die Meistersinger von Nurnberg: Dritte Szene - Seid meiner Treue wohl versehen (Pogner, Beckmesser, Walther)
Die Meistersinger von Nurnberg: Zu einer Freiung und Zunftberatung (Kothner, Pogner, Vogelgesang, Ortel, Zorn, Nachtigal, Moser, Ein Lehrbube, David, Sachs, Beckmesser, Eisslinger, Foltz, Schwarz)
Die Meistersinger von Nurnberg: Fur wicht'gen Antrag bitt'ich ums Wort (Pogner, Kothner)
Die Meistersinger von Nurnberg: Das heibt ein Wort, ein Wort ein Mann (Die Meister)
Die Meistersinger von Nurnberg: Wohl Meister! (Pogner, Beckmesser, Die Meister, Kothner, Nachtigal, Sachs)
Die Meistersinger von Nurnberg: Am stillen Herd in Winterszeit (Walther, Sachs, Beckmesser, Kothner, Vogelgesang)
Die Meistersinger von Nurnberg: Ein saures Amt, und hart zumal (Beckmesser, Kothner, Walther)

Tracks:

Die Meistersinger von Nurnberg: Dritte Szene - Fur dich, Geliebte, sei's getan (Walther, Kothner, Beckmesser)
Die Meistersinger von Nurnberg: Seid ihr nun fertig? (Beckmesser, Walther, Pogner, Kothner, Die Meister)
Die Meistersinger von Nurnberg: Halt, Meister! Nicht so geeilt! (Sachs, Beckmesser, Nachtigal, Kothner, Pogner)
Die Meistersinger von Nurnberg: Zweiter Aufzug - Erste Szene - Johannistag! Johannistag! (Lehrbuben, David, Magdalene, Sachs)
Die Meistersinger von Nurnberg: Sweite Szene - Lab seh'n, ob Meister Sachs zu Haus? (Pogner, Eva, Magdalene)
Die Meistersinger von Nurnberg: Dritte Szene - Zeig'her! - 's ist gut - Dort an die Tur (Sachs, David)
Die Meistersinger von Nurnberg: Was duftet doch der Flieder (Sachs)
Die Meistersinger von Nurnberg: Vierte Szene - Gut'n Abend, Meister! Noch so fleibig? (Eva, Sachs, Magdalene)
Die Meistersinger von Nurnberg: Ach ja! Hast recht; 's ist im Kopf mir kraus (Sachs, Eva)
Die Meistersinger von Nurnberg: Das dacht' ich wohl (Sachs, Magdalene, Eva)
Die Meistersinger von Nurnberg: Funfte Szene - Da ist er! (Eva, Magdalene, Walther)
Die Meistersinger von Nurnberg: Uble Dinge, die ich da merk' (Sachs, Walther, Eva)
Die Meistersinger von Nurnberg: Tu's nicht! - Doch horch! (Eva, Walther, Sachs)
Die Meistersinger von Nurnberg: Jerum! Jerum! Hallo hallohe! (Sachs, Beckmesser, Walther, Eva)
Die Meistersinger von Nurnberg: Das Fenster geht auf (Beckmesser, Eva, Walther, Sachs)
Die Meistersinger von Nurnberg: Den Tag Seh' ich erscheinen (Beckmesser, Sachs)
Die Meistersinger von Nurnberg: Seid lhr nun fertig? (Sachs, Beckmesser, David, Nachbarn)
Die Meistersinger von Nurnberg: Siebte Szene - Ach, Himmel! David! Gott, welche Not! (Magdalene, Nachmarn, Lehrbuben, Gesellen, Die Meister, Pogner, Walther, Nachtwachter)

Tracks:

Die Meistersinger von Nurnberg: Dritter Aufzug - Vorspiel
Die Meistersinger von Nurnberg: Erste Szene - Gleich, Meister! Hier! (David, Sachs)
Die Meistersinger von Nurnberg: Am Jordan Sankt Johannes stand (David, Sachs)
Die Meistersinger von Nurnberg: Wahn! Wahn! Uberall Wahn! (Sachs)
Die Meistersinger von Nurnberg: Grub Gott, mein Junker (Sachs, Walther)
Die Meistersinger von Nurnberg: Mein Freund! In holder Jugendzeit (Sachs, Walther)
Die Meistersinger von Nurnberg: Morgenlich leuchtend in rosigem Schein (Walther, Sachs)
Die Meistersinger von Nurnberg: Abendlich gluhend in himmlischer Pracht (Walther, Sachs)
Die Meistersinger von Nurnberg: Dritte Szene - Ein Werbelied! Von Sachs! (Beckmesser, Sachs)
Die Meistersinger von Nurnberg: Sieh da, Herr Schreiber? Auch am Morgen? (Sachs, Beckmesser)
Die Meistersinger von Nurnberg: Das Gedicht? Hier lieb ich's (Sachs, Beckmesser)
Die Meistersinger von Nurnberg: Vierte Szene - Sieh, Evchen! (Sachs, Eva)
Die Meistersinger von Nurnberg: Immer schstern, das ist nun mein los (Sachs, Walther)
Die Meistersinger von Nurnberg: Hat man mit dem Schuhwerk nicht seine Not? (Sachs)
Die Meistersinger von Nurnberg: O Sachs! Mein Freund! Du Teurer Mann! (Eva, Sachs)
Die Meistersinger von Nurnberg: Ein Kind ward hier geboren (Sachs)

Tracks:

Die Meistersinger von Nurnberg: Die selige Morgentraum - Deutweise (Sachs, Eva, Walther, David, Magdalene)
Die Meistersinger von Nurnberg: Funfte Szene - Sankt Krispi, lobet ihn! (Schuster, Schneider, Backer, Lehrbuben)
Die Meistersinger von Nurnberg: Wach' auf, es nahet gen den Tag (Lehrbuben, Volk)
Die Meistersinger von Nurnberg: Die Meistersinger (Gesellen, Lehrbuben, David)
Die Meistersinger von Nurnberg: Wach' auf, es nahet gen den Tag (Lehrbuben, Volk)
Die Meistersinger von Nurnberg: Euch macht ihr's leicht, mir macht ihr's schwer (Sachs, Pogner, Beckmesser, Kothner)
Die Meistersinger von Nurnberg: O Sachs, mein Freund (Pogner, Sachs, Beckmesser, Kothner, Volk)
Die Meistersinger von Nurnberg: Morgen ich leuchte in rosigem Schein (Beckmesser, Die Meister, Kothner, Volk)
Die Meistersinger von Nurnberg: Welch eig'ner Fall! (Meister, Sachs, Volk, Lehrbuben)
Die Meistersinger von Nurnberg: Morgenlich leuchtend im rosigen Schein (Walther, Volk, Die Meister, Sachs, Pogner, Eva)
Die Meistersinger von Nurnberg: Den Zeugen, denk es, wahlt ich gut (Sachs, Volk, Die Meister, Pogner, Walther)
Die Meistersinger von Nurnberg: Verachtet mir die Mesiter nicht (Sachs, Volk)

Customer Reviews:

Barenboim Conducts A Fine Score But The Singers Are Bland.......2006-03-17

This studio recording corresponds with a production of Meistersinger conducted by Daniel Barenboim at Bayreuth in the 1990's. For fans of Barenboim and his style of conducting Wagner this is a real treat. The singers are modern singers who project their voices well and have some beautiful moments but generally sound bland and uninteresting. Of course, they are up against some tough competition - singers who have scored huge success in the few recordings there are of Meistersinger include Dietrich Ficher-Dieskau, Theo Adam, Placido Domingo, Gundula Janowitz, Rene Kollo, Cheryl Studer, Kurt Moll and others. Barenboim, too, was aware that conducting the music for this opera meant he would be immediately likened to other conductors of great fame like Furtwangler, Karajan, Jochum, Sawallisch, Kubelik and Solti, all conductors who have recordings of Meistersinger.

At a length of 4 hours and 30 minutes, this extensive, highly musical comic opera is considered to be Wagner's best work prior to his more mature works like Tristan And Isolde, the Ring and Parsifal. Set in Medieval Germany, the plot centers around a huge singing contest in old Nuremberg. There is hanky-panky going on between a contestant and the wife of another contestant. Whoever sings the most beautiful and meaningful song in praise of German artistry wins the hand of the fair Elsa, a role that is probably the most taxing for a lyric soprano. The wise cobbler Hans Sachs is a principal role and calls for a lyric but powerful bass voice and very few singers master this role. The bass in this opera is rather good, and sings well, but does not put any idiom or nuance to his acting. Granted, this opera is tough to put on. It does not enjoy immense popularity in major opera houses and only a few stage it. Today, you are likely to find that only Bayreuth still stages this work. Barenboim, who was Jewish by the way, remains an active and popular conductor and his talent for conducting Wagner is extraordinary. No other conductor alive today can do this.

A Fearless,Genuine Walther.......2005-01-04

Nearly the ideal "Meistersinger" but that same problem ever;an old Hans Sachs voice just razing the performance,all in all Sachs is all but one third of this opera.In fact,Holl doesn't ruin Barenboim so severely like Van Dam did on last Solti's version.My disagreement on previous rewiew concerns the leading couple.I loved them;Emily Magee sings a cheerful Eva,just perfect to her fellow,Peter Seiffert,in my opinion,the reason because this set is an indispensable one.There aren't any,one single bar of weariness or vocal laziness by him.In his voice,Walther is a genuine happiness,a so fearless guy that he can be the Wagner's alter ego embodiment.I was bewitched by his commitment and strenght on "Prize Song" that has something special,unfamiliar even on the best Heppner's recordings.You must to listen this performance,also because Seiffert's voice improves a lot on Bayreuth acoustics.Schmidt sings a less caricatural Beckmesser than usual,Hölle'singing is decaying,something like Eva's grandfather and others singers are Ok.Barenboim is shining,from prelude until the end,hasty sometimes,to be truthful.Fine chorus but Bayreuth Orch. players are the real eminences;St Catherine's Church employed a dazzling cellist that night,and so on.Let me tell you;this is gorgeous.Forgive that old age Sachs and just buy!

Near Perfect Recording.......2001-10-24

This recording confirms my belief that Barenboim's best Wagner recordings are those made at Bayreuth. Whether that is because of the cast, the orchestra or the atmosphere of a live performance I don't know. What I do know is that any Wagnerian will be pleased with this recording. I can't find any flaws and can't seem to stop listening.

Fantastic!.......2000-11-19

After spending saturday listening, twice, to the 4 CD's I am still ready for more.

Regardless of the "problems" of a live recording, like stage noise, I belive that operas are better served in this enviroment. Recording quality, and high audio equipment, has improved to the point that is near to be there. You get the sense of the performer moving around and, thanks God, people does not cough like in the historic recordings.

Mr. Barenboim conducts in a very adequate manner this romantic opera and the performers are up to the task. The strings of the Bayreuther Festspiele are warm and the metals command perfect control.

The cast is enormous and to have a perfect sound talks marvel of this recording.

A must buy.

Excellent sound and tight, exciting conducting!.......2000-10-02

I've yet to finish listening to this set yet, but from what I've heard so far, it's a strong contender for THE version to get, alongside the Solti one.