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華格納:歌劇(漂泊的荷蘭人) 沙瓦利許 指揮 拜魯特節慶管弦樂團暨合唱團 Wolfgang Sawallisch / Wagner: The Flying Dutchman Bayreuther Festspiele 1959/8/5



華格納:歌劇(漂泊的荷蘭人) 沙瓦利許  指揮 拜魯特節慶管弦樂團暨合唱團	Wolfgang Sawallisch / Wagner: The Flying Dutchman Bayreuther Festspiele 1959/8/5
華格納:歌劇(漂泊的荷蘭人) 沙瓦利許  指揮 拜魯特節慶管弦樂團暨合唱團	Wolfgang Sawallisch / Wagner: The Flying Dutchman Bayreuther Festspiele 1959/8/5
專輯編號: C936182
專輯類型: 雙CD
發行年份: 2019
國際條碼: 4011790936222
音樂家:
音樂廠牌: Orfeo
庫存狀態: 有庫存
定價: $850.00
特價: $780.00
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The slimmest Senta in the world

Although Wagner himself made it quite clear to King Ludwig II of Bavaria that the Flying Dutchman was among those works of his deemed fit to be performed in Bayreuth, the “Romantic Opera in three Acts” was not staged there till 1901, as the last of those ten.

1959 was a special year in “New Bayreuth”: by producing the earliest, Wieland Wagner had now presented all ten works under his own direction, in the first “Ring-free” year since the 1951 reopening – an abomination to hard-bitten old-school Wagnerians, for whom only the Ring and Parsifal genuinely belonged on the “green hill” of Bayreuth. There was once again heated discussion over the guiding principles governing the presentation of the festival – as reported, along with much else, in the well-informed and lively booklet-note by Festival public relations officer Peter Emmerich. But Wieland confounded and convinced his critics yet again with a “rediscovery” of his directorial idiom, described by him as “magic realism”.

Musical success was achieved on the grand scale by the brilliant exponents of Senta (dubbed by Wagner “the woman of the future”) and the Dutchman – and by the musically modern slim-line conductor, who had made his successful Bayreuth debut not long before in the new production of Tristan (now on CD ORFEO C 951 183). Leonie Rysanek, whose singing gave vivid meaning to all the drama’s emotional aspects, also had the figure for the part – in her own words, she was the “slimmest Senta in the world”. With his powerful voice and darkly glowing male timbre, the inimitably elegant and empathetic George London remains without peer on this recording as elsewhere. Just as convincingly cast in its other roles, the work soon established itself in this second “New Bayreuth” staging even in its spiritual home. We would make a special point of observing that this historic audio document was captured not at the premiere performance, but during a second live recording on August 5, 1959.

Translation: Janet and Michael Berridge, Berlin

Disque : 1
  1. Ouvertüre
  2. Johohoe! Halloho! (1. Akt)
  3. Mit Gewitter und Sturm aus fernem Meer
  4. Die Frist ist um
  5. He! Holla! Steuermann
  6. Durch Sturm und bösen Wind verschlagen
  7. Südwind! Südwind!
  8. Mit Gewitter und Sturm aus fernem Meer

Disque : 2
  1. Summ und brumm, du gutes Rädchen (2. Akt)
  2. Johohoe! Traft ihr das Schiff im Meere an
  3. Senta! Senta! Willst du mich verderben?
  4. Auf hohem Felsen lag ich träumend
  5. Mein Kind, du siehst mich auf der Schwelle
  6. Mögst du, mein Kind, den fremden Mann willkommen heißen
  7. Wie aus der ferne längst vergang'ner Zeiten
  8. Wirst du des Vaters Wahl nicht schelten?
  9. Verzeiht! Mein Volk hält draußen sich nicht mehr
  10. Steuermann, laß die Wacht! (3. Akt)
  11. Johohohe! Johohohe! Hoe! Hoe!
  12. Was muß ich hören!
  13. Willst jenes Tags du nicht dich mehr entsinnen
  14. Verloren! Ach! Verloren!
  15. Erfahre das Geschick, vor dem ich dich bewahr'!

 

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