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Music : Joseph Keiiberth - Wagner - Die Walküre (4CD) (2006)

Artist:Joseph Keiiberth
Title:Wagner - Die Walküre
Year Of Release:2006
Genre:Classcial, Opera
Quality:FLAC (image+.cue)
Total Time:03:37:37
Total Size:1,27 Gb
WebSite:Album Preview

CD 1:
01. Vorspiel
02. Wes Herd dies auch sei
03. Kuhlende Labung gab mir
04. Mud am Herd fand ich den Mann
05. Friedmund darf ich nicht heissen
06. Aus dem Wald trieb es mich fort
07. Ich weiss ein wildes Geschlect
08. Ein Schwert werhiess mir der Vater
09. Schlafst du, Gast?
10. Wintersturme wichen dem wonnermond
11. Du bist der Lenz
12. Wehwalt heisst du furwahr?

CD 2:
01. Vorspiel
02. Nun zaume dein Ross
03. Der alte Sturm
04. So ist es denn aus mit den weigen Gottern
05. Nichts lerntest du
06. Was verlangst du?
07. Schlimm, furcht' ich, schloss der Streit
08. Was keinem in Worten ich kunde
09. Ein andres ist's
10. O sag, kunde
11. Raste nun hier
12. Hinweg! Hinweg!

CD 3:
01. Siegmund ! Sieh' auf mich!
02. Hehr bist du, und heilig gewaht'ich
03. So wenig achtest du ewige Wonne?
04. Zauberfest bezahmt ein Schlaf
05. Kehrte der Vater nur heim!

CD 4:
01. Prelude - Hojotoho! Hojotoho!
02. Schuzt mich und helft
03. Nicht sehre dich Sorge um mich
04. Steh, Brunnhild'!
05. Wo is Brunnhild'
06. Hier bin ich, Vater
07. Wehe ! Weh'! Schwester
08. War es so schmahlich
09. Nicht weise bin ich
10. So tatest du
11. Du zeugtest ein edles Geschlect
12. Leb wohl, du kuhnes, herrliches Kind!
13. Denn einer nur freie die Braut
14. Loge, hor! Lausche hieher!

Astrid Varnay
Gre Brouwenstijn
Hans Hotter
Ramon Vinay
Josef Greindl
Georgine von Milinkovič
Hertha Wilfert
Hilde Scheppan
Elisabeth Schärtel
Maria von llosvay
Gerda Lammers
Jean Watson
Maria Graf
Orchester der Bayreuther Festspiele
Joseph Keiiberth

It said something troubling about the state of the classical recording industry in the early twenty first century that the most eagerly anticipated Ring cycle release was not a brand-new digital recording but rather a 50-year-old, previously unreleased recording. Of course, this was not just any 50-year-old Ring: it was the first-ever stereo Ring recorded at the 1955 Bayreuth Festival in a theater specifically built for the work featuring performers specially selected by the composer's family. Although originally intended for release on Decca, the project was shelved when senior producer John Culshaw decided to record the Ring in the far more controllable atmosphere of the studio instead, a decision that eventually resulted in the release of the Solti/Vienna Philharmonic Ring. For older Wagner fans, this Ring was a chance to hear what might have been but never was. For younger Wagner fans, it was a chance to hear what might have been the best Ring to be released any time in the near future.
How was it? Mostly pretty good, sometimes great, occasionally transcendent, and, for what seemed like long stretches, fairly ordinary. By far the best thing about the performance was Hans Hotter's Wotan, who totally dominated the stage with his commanding voice and imposing characterization. Astrid Varnay's Brünnhilde was next best, her imperious voice and passionate delivery creating a portrayal of tremendous power and depth. Regrettably, Hotter and Varnay don't appear in Act I, and neither Gré Brouwenstijn's wilting Sieglinde nor Ramón Vinay's weak-kneed Siegmund were able to convey their character's fate-driven intensity with anything like the strength of Hotter or Varnay. The performance's long stretches of fairly ordinary were supplied by conductor Joseph Keilberth and the Bayreuther Festspiele Orchester. Keilberth could rise to an occasion -- the blazing climax of Act III is astounding -- but most of the time he is more of an accompanist than a conductor and consequently much of the drama drags. The Bayreuth orchestra likewise could rise to an occasion -- the glowing colors in the Act I finale are astonishing -- but too often it sounds not quite together -- the strings in the Act I Prelude -- or not altogether in tune -- the low brass in the Ride of the Valkyries at the start of Act III. The live stereo sound was amazingly fine considering its vintage and provenance -- the sense of time, place, and motion is palpable even if the orchestra sounds a bit harsh -- but, it has to be said, nowhere near as vivid and immediate as Culshaw's studio sound.

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