Wilhelm Richard Wagner (1813-1883) - Die Walküre (Der Ring des Nibelungen) *Click to activate the English subtitles for the presentation* (00:00-04:45) Prelude (00:00) Act 1 Erste Szene Wes Herd Dies Auch Sei (03:57) Einen Unseligen Labtest Du (12:48) Zweite Szene Müde Am Herd Fand Ich Den Mann (17:02) Friedmund Darf Ich Nicht Heissen (22:13) Die So Leidig Los Dir Beschied (27:49) Ich Weiss Ein Wildes Geschlecht (32:13) Dritte Szene Ein Schwert Verheiss Mir Der Vater (38:06) Schläfst Du, Gast ? (44:21) Winterstürme Wichen Dem Wonnemond (51:16) Du Bist Der Lenz (54:25) O Süsseste Wonne! Seligstes Weib ! (56:29) Siegmund Heiss' Ich Und Siegmund Bin Ich ! (1:02:51) Act 2 Prelude, Nun Zäume Dein Ross, Reisige Maid ! (1:06:49) Erste Szene Hojotoho! Hojotoho! (1:09:23) Der Alte Sturm, Die Alte Müh’! (1:11:47) So Ist Es Denn Aus Mit Den Weigen Göttern (1:16:12) Heiaha! Heiaha! Hojotoho ! (1:26:28) Zweite Szene Schlimm, Fürcht' Ich, Schloss Der Streit (1:29:49) Als Junger Liebe Lust Mir Verblich (1:35:09) Ein Andres Ist's...Achte Es Wohl (1:39:53) So Nimmst Du Von Siegmund Den Sieg ? (1:46:02) So Nimm Meinen Segen, Niblungen-Sohn ! (1:49:58) Dritte Szene Raste Nun Hier, Gönne Dir Ruh ! (1:57:37) Hinweg! Hinweg ! Flieh Die In Tweihte ! (2:02:19) Vierte Szene Siegmund! Sieh Auf Mich ! (2:10:09) Erdenluft Muss Sie Noch Atmen (2:19:33) Weh! Weh! Süssestes Weib (2:23:40) Zwei Leben Lachen Dir Hier (2:28:02) Fünfte Szene Zauberfest Bezähmt Ein Schlaf (2:30:28) Wehwalt! Wehwalt ! (2:35:06) Act 3 Erste Szene Walküreritt.. Hojotoho! Hojotoho / Chevauchée des Walkyries / Ride of the Valkyries ! (2:39:44) Schützt Mich Und Helft In Höchster Not ! (2:47:51) Nicht Sehre Dich Sorge Um Mich (2:51:32) Steh, Brünnhild’ ! (2:56:55) Zweite Szene Hier Bin Ich, Vater...Gebiete Die Strafe ! (3:01:58) Dritte Szene War Es So Schmählich, Was Ich Verbach (3:12:39) Deinen Leichten Sinn Lass Dich Denn Leiten (3:24:24) Du Zeugtest Ein Edles Geschlecht (3:28:29) Leb Wohl, Du Kühnes, Herrliches Kind ! (3:34:21) Der Augen Leuchtendes Paar (3:38:50) Loge, Hör! Lausche Hieher ! (3:44:52) Magic Fire Music (3:46:12) Brünnhilde : Martha Mödl Sieglinde : Leonie Rysanek Wotan : Ferdinand Frantz Siegmund : Ludwig Suthaus Fricka : Margarete Klose Hunding : Gottlob Frick Wiener Philharmoniker Wilhelm FURTWÄNGLER Recorded in 1954, at Vienna New mastering in 2017 by AB for CMRR Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr C'est l'une des tristesses de l'histoire de l’enregistrement que Furtwangler soit mort avant d'avoir pu terminer l'enregistrement en studio de l'Anneau commencé si favorablement avec cette série « Die Walküre » en 1954. À cette époque, l'interprétation du cycle par Furtwängler, mûrie sur plus d'un quart de siècle d'expérience de l'œuvre, était reconnue comme la plus profonde de son époque. Nous avons la chance d'avoir son enregistrement de 1953 de l'ensemble du cycle émanant de la radio de Rome mais, aussi précieuses que soient ces interprétations, le jeu d'orchestre et la qualité sonore laissent à désirer. Comme nous pouvons l'entendre dans cette représentation, les dons de chef d'orchestre en tant que Wagnérien étaient très particuliers. Il est parvenu à combiner une spontanéité d'expression naturelle avec une connaissance profonde et métaphysique de la signification intérieure de la musique et du texte. Dans une large liberté de tempi et de dynamique, Furtwängler a su saisir les longs paragraphes de l'écriture wagnérienne. Cette maîtrise repose avant tout sur la sonorité ferme, riche et intense qu'il encourage à tirer de ses violoncelles et contrebasses. Aucun détail n'a été négligé dans ses lectures, mais il a su mettre en corrélation ces détails avec sa vision globale de l'œuvre. Maître de la transition, il était capable d'englober le balayage d'un "acte entier". Personne avant ou depuis n'a réussi à transmettre la force tragique de l'écriture de Wagner - écoutez la fin de la Narration de Wotan avec une conviction aussi infaillible et inévitable. La pure incandescence alliée à la sincérité de son approche ne souffre d’aucun démenti. Nulle part ailleurs le lent déroulement des différents motifs de Siegmund-SiegIinde de l'acte 1 et leur passion éveillée ne sont aussi profondément, aussi intemporellement exposés que par Furtwängler et la Philharmonie de Vienne. L'intériorité du monologue de Wotan, l'exubérance et la puissance de la Chevauchée des Valkyries, l'éloquence écrasante de la scène finale sont toutes réalisées avec une ampleur inégalée et un son saturé égalé par peu avant ou après. Furtwängler a fait appel à une équipe dévouée pour seconder son interprétation, composée d'artistes avec lesquels il avait travaillé en étroite collaboration dans l'après-guerre. Leonie Rysanek, alors au début d'une longue et brillante carrière, est une Sieglinde impliquée et vibrante, qui déverse tout son cœur dans "Du bist der Lenz", le duo avec Siegmund, la terreur et le désespoir dans les montagnes alors qu'elle imagine qu'elle entend les chiens de Hunding à sa poursuite et à celle de Siegmund et qu'elle s'inspire avec enthousiasme alors qu'elle réalise, dans l'acte 3, qu'elle va porter leur enfant, la dimension supplémentaire en haut de son registre étant utilisée de manière passionnante. Ludwig Suthaus, également Tristan sur les disques de Tristan und Isolde de Furtwängler, est un véritable Heldentenor, dont la voix contient du métal wagnérien, et un chanteur qui utilise le texte de manière plus idiomatique que la plupart de ses successeurs dans le rôle. Pourtant, il a la poésie nécessaire pour gérer un "Wintersturme" lyrique et un récit poétique du passage de la "Zauberfest" sur la Sieglinde endormie vers la fin du deuxième acte. Parfois négligent sur la valeur des notes, il nous console avec la conviction et la clarté de son chant. Les touches d'individualité dans sa lecture sont d'autant plus bienvenues à notre époque de conformité vocale. Personne n'a mieux compris les exigences du rôle de Brünnhilde que Martha Mödl. Elle a parfois eu recours à une production vocale un peu laborieuse, mais elle avait une façon de faire avec les mots et leur relation à la musique qui dépassait souvent celle des sopranos qui étaient plus régulières dans l'émission tonale. Il y a quelque chose de profondément émouvant et individuel dans sa façon de traiter le rôle et elle capture aussi bien que quiconque, avec ses accents chaleureux, les diverses réponses enthousiastes de Brünnhilde à la détresse de son père Wotan. Le rôle de Dieu est tenu par Ferdinand Frantz. Même si nous regrettons que Furtwängler n'ait pas enregistré l'opéra avec Hotter, le premier rôle de Wotan de l'époque, nous pouvons toujours admirer les forces incontestables de Frantz. Son ton ferme et son articulation claire comptent pour beaucoup dans la suggestion de l'autorité, de l'agonie et de la compassion du rôle. Chaque mot a son propre poids et il réussit aussi un véritable legato dans l'Adieu. En effet, inspirés par leur chef d'orchestre, lui et Mödl atteignent de grands sommets d'interprétation dans la scène finale de l'œuvre. Margarete Klose est une Fricka expérimentée et persuasive : c'est une autre chanteuse qui connaît bien le sens du texte. Gottlob Frick est un Hunding bien aiguisé, aux tons sombres. Une splendide équipe de chanteurs de l'Opéra d'État de Vienne a été réunie pour les huit Valkyries. Dans la "fosse", pour ainsi dire, Furtwängler avait l'incomparable Philharmonique de Vienne. Dans ses autres enregistrements du Ring, officiels et non officiels, il avait dû former des musiciens d'orchestre italiens à la manière de phraser Wagner. Ici, il a fait élever un orchestre dans la tradition wagnérienne, et a ainsi pu répondre immédiatement à sa formidable interprétation. La chaleur des cordes, le raffinement du vent, la force disciplinée des cuivres peuvent être entendus et admirés partout. Heureusement, à cette époque, la politique était d'enregistrer les chanteurs sans une aura indésirable d'espace autour d'eux et de les équilibrer favorablement avec l'orchestre. Cela donne à cette grande performance une immédiateté supplémentaire. Dans l'ensemble, sa valeur historique est indéniable. Richard Wagner PLAYLIST (reference recordings) th-cam.com/video/dzeNnoMmsjM/w-d-xo.html&index=1&list=PL3UZpQL9LIxMleWmzrxmYsjeUJ6MUdM3-
There is not a single work of music that he interpreted that is not awesome. His instincts were purely above any other conductor I have heard in my sixty years of life.
You’re so lucky. I loved his Tristan on Furtwangler’s recording, though I think Flagstad sounded too matronly for the role at the time. Besides Set Svanholm and James King, he is really ideal.
Superb. I bought this LP in 11th grade. It was my first Wagner opera and have loved it. Act 1 is a miracle as I appreciate being older and hearing other versions. Furtwrangler shapes the sound as no one else. I can imagine how his live performances in Bayreuth were epic having been there and experienceing the Bayreuth sound in person.
@@joedeegan3870 Correct, though I never thought of it in those terms when there. I’m returning Aug 21-26 for the 3rd Ring and will pay close attention to that which you speak.
Wagner learned me what the words of Dostojewsky mean; "Beauty wil save the world" Furtwangler translate it for humans to understand....Thank you so much!
Unbelievable beautiful! Furtwangler makes this opera one, whole, dangerous beautiful, sovereign! Models voice melts my heart, "War es so schmachlich was ich verbrach?" is unsurpassed!
Thanks . Enjoy for this new post : Beethoven by W.Furtwängler - Symphonies n°1,2,3,4,5,6,7,8,9 / Overtures (Century’s recording) th-cam.com/video/KQRBOr4L-yk/w-d-xo.html
In Furtwangler's Wagner, everythings flows, everything's warm and lyrical, every moment is interesting, and the deeper psychological aspects of the operas (music dramas) are present when necessary. In my personal opinion (and yes, it's just my personal opinion; other people may prefer Solti or Karajan (or lots of other greats), whom I also love in this music!) Furtwangler's combination of all these elements makes him the ideal Wagnerian conductor.
Another absolutely superb remastering of recordings from the last century by CMRR, featuring here an ensemble that sets a standard that is very difficult to match. This production of Die Walküre is among the very best ... for which many heartfelt thanks.
Arguably the greatest studio recording of this. Martha Modl was always masterful with the text. And this is an opportunity to hear the great Margaret Klose in one of her rare studio recordings. Cheers.
Un enregistrement de référence absolue pour l'éternité, merci à Furtwangler, aux chanteurs, aux Wiener Philarmoniker et surtout à Richard Wagner pour un tel chef d'œuvre absolu
Es la versión más hermosa que conozco: las voces son deliciosamente dulces y emotivas; la dirección es exquista. Con el Parsifal de Knappertsbusch, mi Wagner favorito. Muchas gracias.
Magnificent cast; Ludwig Suthaus' "Walse" cry was phenomenal. Martha Modl - can't ever fault. Gottlob Frick, Ferdinand Franz and Leonie Rysanek are fabulous as always here. Incidentally, the other Walkure are: Johanna Blatter, Judith Hellwig, Dagmar Hermann, Erika Koth, Dagmar Schmedes, Gerda Schreyer, Ruth Siewert and Hertha Topper.
Leonie Rysanek, one of the great Sieglinde's. Martha Modl a great Brunnhilde, I wish I could have heard both Sopranos live in these roles. I got to hear Rysanek live in Strauss operas.
I never saw Mödl either, but I saw Rysanek three times at San Francisco in the 1970s, once as Sieglinde and twice as the Kaiserin. She was magnificent.
@@jasonhurd4379 As I've said elsewhere, I both 'heard and saw' (in that order as a musician) Rysanek do Sieglinde alongside Alberto Remedios as Sigmund and Rita Hunter as Brunnhilde with The Australian Opera (as it was then) in Melbourne in 1985. While the voice was not, as one might expect, as good as it is here, it made a tremendous impression on me, while despite her not having taken on Brunnhilde in her career (at least as far as I am aware), it has been said, I think, that her voice was actually bigger than, yes, Nilsson's. Yes, in recalling the late Clive James's comment about how Nilsson's voice bored into the back of a concert hall, Rysanek's nevertheless enveloped the whole theatre in Melbourne, while it remains one of the greatest soloist singing experiences I've had since my first live opera - indeed Rheingold! - in 1984.
@@jasonhurd4379 Those Walküres with Vickers in '76 still live in my memories. I did standing room for every one. Likewise the Frau of that same year. and Ursula Schröder-Feinen..well, the entire cast... insanely wonderful. I love my Leonie ! She also did a few of the Sieglindes in the new Ring cycle of 84?/85?
@@artistsf1 I only saw the Sunday matinee of FroSch in 76, but I remember it well. Schröder-Feinen was astonishing. She got a bigger ovation than Rysanek! And the production was magical. When I see the gibberish that passes for FroSch productions nowadays, I realise how fortunate I was to see that production, far more more faithful to the libretto.
I've never understood what the fascination is with this recording, or with Furtwängler in general, but am glad to see it's been preserved and remastered. Thanks for uploading - it's really great that people can have access to these old recordings.
Just listen to it! This is so beautiful! Furtwangler understands the meaning of the story, the philosophy, al the layers, and translates them so we can understand on an emotional level.
Thank you so much for bringing this back! The more I attempt to understand the Ring, the more I am absolutely blown away. It would be great in my humble opinion if maestros today would attempt to bring back the great and magnificent productions again like Furtwangler. Instead, the proclivity nowadays seems to be to time bound Wagner’s Ring, through the appropriation of the Ring by using it as a vehicle for current social commentary...making the timeless themes in the Ring so insular and limited.
Well, the Ring was written by Wagner as social commentary or - as he put it - "to explain the revolution". He wrote it after the failed revolution of 1848 and consisted his political and philosophical beliefs of that time. Of course its also a deeply personal work and while he composed it he changed some of his philosophical ideas which did not affect the text but the music.
@@paulhoffmann3405 Yes, but he outgrew that concept over the years it took him to complete it. I think other ideas came to the fore. Personally, I think he buried those 1848 ideas in Siegfried's Funeral March and the second ending with Brunhilde was about other ideas that had been possessing him and were growing in that massive brain.
@@Operafreak9 Well one should note he didn`t really change anything about the text itself. There was an closing monologue of Brunnhilde which he deleted. This monologue would have contained the "morals" of the "Ring" in a definite way - contracts, state, morals, ownership is destructive, only love can give you bliss, so a "socialist utopia" as Nietzsche called it. He tried to write a second monologue which is more about Schopenhauer, Brunnhildes death then appears to be as a negation of life but he deleted it as well. He talked clearly about it - the music says it all. And the music sees the destruction of the gods, the victorious Siegfried theme (the free human) played together with the demise of the gods (the state) and the final theme which was first introduced when Brunnhilde sees love as superiour to power in "Walküre". So the music really says it all. Of course there are tons of other interpretations possible and you feel a certain joy and ecstasy in the destruction of everything which is deeply unsettling but probably exactly how Wagner felt.
@@paulhoffmann3405 Paul, I hope my reply is not to windy, but with Wagner there is only the giant economy size. I have grown with my response to Wagner over several decades; I keep changin in my response and assessment of my responses, and I am in a totally differnt place from where I was just a few years ago, primarily because of "Finding an Ending" by Kitcher and Schacht. They implied the first ending of the cycle I mentioned above with Siegfried's death, but my understanding of what they say is that ultimately none of the philosophies Wagner had followed satisfied him totally. So, it is true everything came crashing down but there was magnificent hope in it. Wagner interwove evverything into the culmination of "The Immolation Scene." Kitcher and Schact said the themes of nature (Rhine), Siegfried, Walhalla all rang out in glorious dignity beyond their previous statements, but they all come crashing down in a marvelous diminunedo and are wrapped in the final orchestral statement of the second hearing of the glorious "Most glorious rapture" that had been directed to Brunhilde in its first appearance in the cyce, and sung by Sieglinde in a kind of "Magnificat." It is obvious in that Wagner giving the final word to this music in a grandeur beyond anything in the cycle was paying special tribute to Brunhilde as the answer to all the conflicts he had intoduced. K and S say that the reason is that in that utter desolation, she acts out of her own volition. Out of what looked like total annihilation, she still acted and made a sacrifice of herself to give meaning to Wotan's defeat, to make it heroic rather than ignonminous. Al berich was not victorious. The ring was restored,to the Rhinemaidens and balance achieved buut she showed that humanity was capable of acting within a universe without any final meanings. Interesting to me is that Wagner retained a bit of the "Nibelungilied" with the firey cataclysm, and part of the idea of Ragnorak with the fate motif that permeates the fourth drama. I thi nk Wagner remained a revolutionary, but like Hegel, he adapted to his hew-found fame and some kind of financial security. I understand "I think: when Wagner said it would all be made clear in the music. This interpretation works for me. Anything else would have been didacic and would ahve diminished the entire cycle. There is no solution for the life, no formula for the future, but the wonderful optimism that rises up from the ashes is because of Brunhilde. She represents what is best in humanity, and ideal beyond all contingencies.
@@Operafreak9 Thank you very much for your reply. Well certainly you can look at it from very different perspectives and it changes every time you look at it. Maybe two additions to what you said. Wagner himself said zu Cosima while composing the scene he could just write "do it like Tristan" in the score after Siegfrieds funeral highlighting the parallel between both endings. At the same time he jokingly said he should rename the piece "The Trial of the Gods" (Göttergericht o.ä.) because Brunnhilde holds the Gods accountable for their crimes. Another saying about the ending was something I liked very much: He said the music has no real ending. It can always go to the contrary, finding a new new form, develop but its never really finished. I always loved that because in a way it frees his art of ideology. Ideology always needs an ending and Wagners ideas were sometimes revolutionary, sometimes dangerous, sometimes both but this statement makes it clear for me that there is sort of an open end at the end of the "Ring".
Ludwig Suthaus deserves an special mention, I read recently: "Compared with other representatives of his time, Suthaus sang remarkably soft and smooth. In his memories Rudolf Schock stated, he himself was the first lyrical Wagner tenor. Pure lyrical Wagner singing, a skill that was often missed. In contrast to his intense but unappealing singing, the voice of Suthaus is a balm to my ears..." Another quote: "When you hear Suthaus, you will understand why they called once a 'A German Belcanto Singer'. After the war, he became a favorite of Furwängler, who saw him as the finest dramatic tenor of his time." My endless standing ovation for him, the best Wagnerian singer ever👏👏👏👏👏👏👏👏👏
I personally prefer Melchior, though I will allow that in terms of musical accuracy and nuance, he (Melchior) left somehing to be desired. In any case, Suthaus is also amazing (and accurate and subtle too!)!
Suthaus was not Lyrical at all. a very much overrated Tenor, whom I saw many times, Melchior whom I also saw, was Lyrical he had more colour and his Tristan was the greatest I ever saw, nobody came close to the man who sang well over Two Hundred Tristan's, also he sang the Complete work without any problems, also he had a larger voice than Suthaus and he could sing the written notes in Wagner even a High C if required, I find Furtwangler rather short on Pathos, Tristan was a Celtic knight not an SS Feldwebel. I heard Reiner Beecham and Furtwangler with Melchior, the first two got the best out of him, Herr Furtwangler tried to take the best out of Melchior. I have just passed my 104th Birthday and I can remember those performances they never leave you, there was very little Belcanto in Suthaus , he often sang flat! Volker whom I also saw was a very lyrical Wagnerian Tenor, but with great beauty of tone and a first rate actor as well, Pistor was an excellent Parsifal and also a very good Tristan, Lorenz was head and shoulders above these all, except for Melchior. I actually interviewed Melchior, Lorenz and Vinay in the fifties and early sixties for an Opera Magazine that I wrote Freelance for , all were Intelligent and easy to talk too Vinay was a fascinating Man and singer. Melchior Suthaus and Vinay all began as Baritones.
The first recording of this work that I bought back in 1992: a discovery that changed my life and opened a new world for me. Although I have the CD's and LP's, thanks for the post.
It’s really a regret that Ludwig Suthaus was not recorded enough: 1943 Bayreuth Meistersinger, 1956 Bayreuth Ring, not as Siegfried or Sigmund but as one & only(!) Loge, 1949 Berlin Tannhauser, and a few excerpts only. Anyhow what a gratitude we can hear him now even in Metro! Thousand thanks!!
Finally I hear a recording and can understand what they are singing- I am German. I the accent of the singers is too strong they can sing very nice but I one can not understand one word (as with Gwyneth Jones) it is not the real deal.
And now listen carefully, dear fans, because here you can hear quite clearly that there is no such thing as "Wagner singing". Suthaus is blessed with a legato culture and interprets every word, Mödl is probably the one with the biggest heart among the great Brünnhilden, nobody shouts, everyone sings the text clearly and knows what they are doing. And there's probably no need to say a word about Furtwängler. He internalises Wagner's entire dramatic world with a warmth that no one else could develop.
THE recording. Only Furtwangler baton had the furtive restless pulse Wagner intended. With Rysanek-perfection. Worth remembering that Wagner’s favorite composer was Bellini. Lyrical intense intimate ‘soap opera’ character interaction not bombastic stentorian grand standing. Bellini also influenced Richard Strauss’ legato. The tenor aria in Rosenkavalier is not satire but tribute to the great Italian’s legato.
Beaucoup de félicitations tout d'abord pour l'excellent travail réalisé ici sur TH-cam. Je voulais acheter cette version (nouvelle mastering en 2017 par AB) mais je ne la trouve pas à vendre. Pouvez-vous m'aider? Merci beaucoup. Et encore mes félicitations!
Merci pour votre commentaire. Ce remastering est un travail spécialement fait pour la chaine youtube. Cependant la version originale (premier pressage EMI ANGEL) est déjà excellente. Voici le lien pour l'achat www.amazon.fr/Die-Walkyrie-Richard-Wagner/dp/B000005GOI/ref=sr_1_12_twi_aud_2?ie=UTF8&qid=1511904769&sr=8-12&keywords=furtwangler+walkure Régalez-vous et belle écoute !
Matcha Latte Capuchinno: No, there are better third acts in life and on other WALKURE recordings. But to each his/her own. One has to appreciate the entire recording/work.
SredniVashtar: Evidently “distinguished” is a matter of opinion. Perhaps Frantz was more agreeable to Furtwangler’s concept or Hotter’s voice was not what the conductor had in mind. After all Modl is a mezzo not a soprano and used in the ‘55 second Bayreuth cycle AFTER Varnay.
@@johnpickford4222 Hotter was a great artist but he wasn't always a great singer and his voice could sometimes let him down due to his asthma and hay fever. Frantz was probably more reliable, if a bit dour and matter-of-fact in his interpretation. I have heard it suggested that Furtwangler wasn't really interested in singers all that much, and thought that the real interest in Wagner lay with the orchestra, so it would make sense that he went for someone like Frantz rather than the lieder singer Hotter. Walter Legge didn't rate Hotter that much either and preferred Walter Berry for the Klemperer Fidelio recording, even though Hotter had sung the role of Don Pizarro in the production that preceded the recording.
Yes, further to the famous live Bohm Bayreuth recording, the joke was that James King knew how to use his 'sword' when it came to making Rysanek scream.
@@gaulandisteinverbrecherisc6259 You obviously know your Bohm, while Jimmy King no doubt knew that Rysanek was VERY 'pleased to see him' after she'd asked him the great Mae West question, "Is that a gun in your pocket?"! ;-)
Yuen Fung: REALLY! OMG! I always wondered why he stopped recording. I thought he just quit and found another profession. Thanks for letting everyone know.
Steve Hugel: Do you work for free? TH-cam has to make a profit somehow and that’s how they do it. YOU CAN ALWAYS BUY THE RECORDING AND LISTEN WITHOUT HAVING TO WORRY ABOUT THE ADS! It’s your choice.
Anche se Furtwangler non mi appassiona più di tanto per una serie di motivi, devo riconoscere che tutta la Tetralogia eseguita da lui è decisamente migliore di tante altre. Segnalo in particolare quella del ciclo al Teatro alla Scala del 1950. Meravigliose quelle di Clemens Krauss a Bayreuth e di Hans Knapptersbusch
Wilhelm Richard Wagner (1813-1883) - Die Walküre (Der Ring des Nibelungen)
*Click to activate the English subtitles for the presentation* (00:00-04:45)
Prelude (00:00)
Act 1
Erste Szene
Wes Herd Dies Auch Sei (03:57)
Einen Unseligen Labtest Du (12:48)
Zweite Szene
Müde Am Herd Fand Ich Den Mann (17:02)
Friedmund Darf Ich Nicht Heissen (22:13)
Die So Leidig Los Dir Beschied (27:49)
Ich Weiss Ein Wildes Geschlecht (32:13)
Dritte Szene
Ein Schwert Verheiss Mir Der Vater (38:06)
Schläfst Du, Gast ? (44:21)
Winterstürme Wichen Dem Wonnemond (51:16)
Du Bist Der Lenz (54:25)
O Süsseste Wonne! Seligstes Weib ! (56:29)
Siegmund Heiss' Ich Und Siegmund Bin Ich ! (1:02:51)
Act 2
Prelude, Nun Zäume Dein Ross, Reisige Maid ! (1:06:49)
Erste Szene
Hojotoho! Hojotoho! (1:09:23)
Der Alte Sturm, Die Alte Müh’! (1:11:47)
So Ist Es Denn Aus Mit Den Weigen Göttern (1:16:12)
Heiaha! Heiaha! Hojotoho ! (1:26:28)
Zweite Szene
Schlimm, Fürcht' Ich, Schloss Der Streit (1:29:49)
Als Junger Liebe Lust Mir Verblich (1:35:09)
Ein Andres Ist's...Achte Es Wohl (1:39:53)
So Nimmst Du Von Siegmund Den Sieg ? (1:46:02)
So Nimm Meinen Segen, Niblungen-Sohn ! (1:49:58)
Dritte Szene
Raste Nun Hier, Gönne Dir Ruh ! (1:57:37)
Hinweg! Hinweg ! Flieh Die In Tweihte ! (2:02:19)
Vierte Szene
Siegmund! Sieh Auf Mich ! (2:10:09)
Erdenluft Muss Sie Noch Atmen (2:19:33)
Weh! Weh! Süssestes Weib (2:23:40)
Zwei Leben Lachen Dir Hier (2:28:02)
Fünfte Szene
Zauberfest Bezähmt Ein Schlaf (2:30:28)
Wehwalt! Wehwalt ! (2:35:06)
Act 3
Erste Szene
Walküreritt.. Hojotoho! Hojotoho / Chevauchée des Walkyries / Ride of the Valkyries !
(2:39:44)
Schützt Mich Und Helft In Höchster Not ! (2:47:51)
Nicht Sehre Dich Sorge Um Mich (2:51:32)
Steh, Brünnhild’ ! (2:56:55)
Zweite Szene
Hier Bin Ich, Vater...Gebiete Die Strafe ! (3:01:58)
Dritte Szene
War Es So Schmählich, Was Ich Verbach (3:12:39)
Deinen Leichten Sinn Lass Dich Denn Leiten (3:24:24)
Du Zeugtest Ein Edles Geschlecht (3:28:29)
Leb Wohl, Du Kühnes, Herrliches Kind ! (3:34:21)
Der Augen Leuchtendes Paar (3:38:50)
Loge, Hör! Lausche Hieher ! (3:44:52)
Magic Fire Music (3:46:12)
Brünnhilde : Martha Mödl
Sieglinde : Leonie Rysanek
Wotan : Ferdinand Frantz
Siegmund : Ludwig Suthaus
Fricka : Margarete Klose
Hunding : Gottlob Frick
Wiener Philharmoniker
Wilhelm FURTWÄNGLER
Recorded in 1954, at Vienna
New mastering in 2017 by AB for CMRR
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
C'est l'une des tristesses de l'histoire de l’enregistrement que Furtwangler soit mort avant d'avoir pu terminer l'enregistrement en studio de l'Anneau commencé si favorablement avec cette série « Die Walküre » en 1954. À cette époque, l'interprétation du cycle par Furtwängler, mûrie sur plus d'un quart de siècle d'expérience de l'œuvre, était reconnue comme la plus profonde de son époque. Nous avons la chance d'avoir son enregistrement de 1953 de l'ensemble du cycle émanant de la radio de Rome mais, aussi précieuses que soient ces interprétations, le jeu d'orchestre et la qualité sonore laissent à désirer. Comme nous pouvons l'entendre dans cette représentation, les dons de chef d'orchestre en tant que Wagnérien étaient très particuliers. Il est parvenu à combiner une spontanéité d'expression naturelle avec une connaissance profonde et métaphysique de la signification intérieure de la musique et du texte. Dans une large liberté de tempi et de dynamique, Furtwängler a su saisir les longs paragraphes de l'écriture wagnérienne. Cette maîtrise repose avant tout sur la sonorité ferme, riche et intense qu'il encourage à tirer de ses violoncelles et contrebasses. Aucun détail n'a été négligé dans ses lectures, mais il a su mettre en corrélation ces détails avec sa vision globale de l'œuvre. Maître de la transition, il était capable d'englober le balayage d'un "acte entier". Personne avant ou depuis n'a réussi à transmettre la force tragique de l'écriture de Wagner - écoutez la fin de la Narration de Wotan avec une conviction aussi infaillible et inévitable. La pure incandescence alliée à la sincérité de son approche ne souffre d’aucun démenti.
Nulle part ailleurs le lent déroulement des différents motifs de Siegmund-SiegIinde de l'acte 1 et leur passion éveillée ne sont aussi profondément, aussi intemporellement exposés que par Furtwängler et la Philharmonie de Vienne. L'intériorité du monologue de Wotan, l'exubérance et la puissance de la Chevauchée des Valkyries, l'éloquence écrasante de la scène finale sont toutes réalisées avec une ampleur inégalée et un son saturé égalé par peu avant ou après. Furtwängler a fait appel à une équipe dévouée pour seconder son interprétation, composée d'artistes avec lesquels il avait travaillé en étroite collaboration dans l'après-guerre. Leonie Rysanek, alors au début d'une longue et brillante carrière, est une Sieglinde impliquée et vibrante, qui déverse tout son cœur dans "Du bist der Lenz", le duo avec Siegmund, la terreur et le désespoir dans les montagnes alors qu'elle imagine qu'elle entend les chiens de Hunding à sa poursuite et à celle de Siegmund et qu'elle s'inspire avec enthousiasme alors qu'elle réalise, dans l'acte 3, qu'elle va porter leur enfant, la dimension supplémentaire en haut de son registre étant utilisée de manière passionnante.
Ludwig Suthaus, également Tristan sur les disques de Tristan und Isolde de Furtwängler, est un véritable Heldentenor, dont la voix contient du métal wagnérien, et un chanteur qui utilise le texte de manière plus idiomatique que la plupart de ses successeurs dans le rôle. Pourtant, il a la poésie nécessaire pour gérer un "Wintersturme" lyrique et un récit poétique du passage de la "Zauberfest" sur la Sieglinde endormie vers la fin du deuxième acte. Parfois négligent sur la valeur des notes, il nous console avec la conviction et la clarté de son chant. Les touches d'individualité dans sa lecture sont d'autant plus bienvenues à notre époque de conformité vocale.
Personne n'a mieux compris les exigences du rôle de Brünnhilde que Martha Mödl. Elle a parfois eu recours à une production vocale un peu laborieuse, mais elle avait une façon de faire avec les mots et leur relation à la musique qui dépassait souvent celle des sopranos qui étaient plus régulières dans l'émission tonale. Il y a quelque chose de profondément émouvant et individuel dans sa façon de traiter le rôle et elle capture aussi bien que quiconque, avec ses accents chaleureux, les diverses réponses enthousiastes de Brünnhilde à la détresse de son père Wotan. Le rôle de Dieu est tenu par Ferdinand Frantz. Même si nous regrettons que Furtwängler n'ait pas enregistré l'opéra avec Hotter, le premier rôle de Wotan de l'époque, nous pouvons toujours admirer les forces incontestables de Frantz. Son ton ferme et son articulation claire comptent pour beaucoup dans la suggestion de l'autorité, de l'agonie et de la compassion du rôle. Chaque mot a son propre poids et il réussit aussi un véritable legato dans l'Adieu. En effet, inspirés par leur chef d'orchestre, lui et Mödl atteignent de grands sommets d'interprétation dans la scène finale de l'œuvre.
Margarete Klose est une Fricka expérimentée et persuasive : c'est une autre chanteuse qui connaît bien le sens du texte. Gottlob Frick est un Hunding bien aiguisé, aux tons sombres. Une splendide équipe de chanteurs de l'Opéra d'État de Vienne a été réunie pour les huit Valkyries. Dans la "fosse", pour ainsi dire, Furtwängler avait l'incomparable Philharmonique de Vienne. Dans ses autres enregistrements du Ring, officiels et non officiels, il avait dû former des musiciens d'orchestre italiens à la manière de phraser Wagner. Ici, il a fait élever un orchestre dans la tradition wagnérienne, et a ainsi pu répondre immédiatement à sa formidable interprétation. La chaleur des cordes, le raffinement du vent, la force disciplinée des cuivres peuvent être entendus et admirés partout. Heureusement, à cette époque, la politique était d'enregistrer les chanteurs sans une aura indésirable d'espace autour d'eux et de les équilibrer favorablement avec l'orchestre. Cela donne à cette grande performance une immédiateté supplémentaire. Dans l'ensemble, sa valeur historique est indéniable.
Richard Wagner PLAYLIST (reference recordings)
th-cam.com/video/dzeNnoMmsjM/w-d-xo.html&index=1&list=PL3UZpQL9LIxMleWmzrxmYsjeUJ6MUdM3-
Classical Music/ /Refiuzz99u
bravo ! et merci !
3:34:00
Everything about Furtwangler is absolutely sincere and he is an amazing musician.
There is not a single work of music that he interpreted that is not awesome. His instincts were purely above any other conductor I have heard in my sixty years of life.
I was very lucky to see/hear Suthaus as Siegmund in 1956 in Vienna under Karajan. I was just a kid and new to the deafening applause some singers got.
Cuán afortunado fue usted! I am so fond of Suthaus!
I am SOOO envious
Wie gerne hätte ich Suthaus doch live erlebt! Leider zu spät dafür geboren
Lucky you!
You’re so lucky. I loved his Tristan on Furtwangler’s recording, though I think Flagstad sounded too matronly for the role at the time. Besides Set Svanholm and James King, he is really ideal.
Superb. I bought this LP in 11th grade. It was my first Wagner opera and have loved it. Act 1 is a miracle as I appreciate being older and hearing other versions. Furtwrangler shapes the sound as no one else. I can imagine how his live performances in Bayreuth were epic having been there and experienceing the Bayreuth sound in person.
Bayreuth has a slightly dry sound, minimum reverberation for clarity.
@@joedeegan3870 Correct, though I never thought of it in those terms when there. I’m returning Aug 21-26 for the 3rd Ring and will pay close attention to that which you speak.
Wagner learned me what the words of Dostojewsky mean; "Beauty wil save the world" Furtwangler translate it for humans to understand....Thank you so much!
Unbelievable beautiful! Furtwangler makes this opera one, whole, dangerous beautiful, sovereign! Models voice melts my heart, "War es so schmachlich was ich verbrach?" is unsurpassed!
Himmel - was für ein Dirigat, was für eine Besetzung! Einfach gigantisch!
I'm speechless, this is absolute perfection.
You sir are a godsend. Your remastering of the Fürtwängler Tristan has been played several times in the last few months. Brilliant work again!
Thanks . Enjoy for this new post :
Beethoven by W.Furtwängler - Symphonies n°1,2,3,4,5,6,7,8,9 / Overtures (Century’s recording) th-cam.com/video/KQRBOr4L-yk/w-d-xo.html
In Furtwangler's Wagner, everythings flows, everything's warm and lyrical, every moment is interesting, and the deeper psychological aspects of the operas (music dramas) are present when necessary. In my personal opinion (and yes, it's just my personal opinion; other people may prefer Solti or Karajan (or lots of other greats), whom I also love in this music!) Furtwangler's combination of all these elements makes him the ideal Wagnerian conductor.
Another absolutely superb remastering of recordings from the last century by CMRR, featuring here an ensemble that sets a standard that is very difficult to match. This production of Die Walküre is among the very best ... for which many heartfelt thanks.
Arguably the greatest studio recording of this. Martha Modl was always masterful with the text. And this is an opportunity to hear the great Margaret Klose in one of her rare studio recordings. Cheers.
One of the best recordings ever ... thank you
💯
Un enregistrement de référence absolue pour l'éternité, merci à Furtwangler, aux chanteurs, aux Wiener Philarmoniker et surtout à Richard Wagner pour un tel chef d'œuvre absolu
I always come back to Die Walkure as my favorite of the Ring. Siegmund and Sieglinde duet is angelic.
Incredible cast. Excellent sound. Premiere conductor!! Greatest orchestra in the world. My favorite Wagner soprano, Martha Modl.
PERFECTION!!!!!!!
Magnificient! The singing, the orchestra and the remastering. All perfect.
Es la versión más hermosa que conozco: las voces son deliciosamente dulces y emotivas; la dirección es exquista. Con el Parsifal de Knappertsbusch, mi Wagner favorito. Muchas gracias.
Magnificent cast; Ludwig Suthaus' "Walse" cry was phenomenal. Martha Modl - can't ever fault. Gottlob Frick, Ferdinand Franz and Leonie Rysanek are fabulous as always here.
Incidentally, the other Walkure are: Johanna Blatter, Judith Hellwig, Dagmar Hermann, Erika Koth, Dagmar Schmedes, Gerda Schreyer, Ruth Siewert and Hertha Topper.
Possibly the best Die Walkure recording .
Pure joy! One of the best performances I have heard for many a long time. An excellent recording to boot! Thank you for this recording.
:-)
To me it is always the same with Wagner...the longer I listen the more I fall in love.....and than Furtwangler?! How many nights can I miss my sleep?
Leonie Rysanek, one of the great Sieglinde's. Martha Modl a great Brunnhilde, I wish I could have heard both Sopranos live in these roles. I got to hear Rysanek live in Strauss operas.
I never saw Mödl either, but I saw Rysanek three times at San Francisco in the 1970s, once as Sieglinde and twice as the Kaiserin. She was magnificent.
@@jasonhurd4379 As I've said elsewhere, I both 'heard and saw' (in that order as a musician) Rysanek do Sieglinde alongside Alberto Remedios as Sigmund and Rita Hunter as Brunnhilde with The Australian Opera (as it was then) in Melbourne in 1985. While the voice was not, as one might expect, as good as it is here, it made a tremendous impression on me, while despite her not having taken on Brunnhilde in her career (at least as far as I am aware), it has been said, I think, that her voice was actually bigger than, yes, Nilsson's. Yes, in recalling the late Clive James's comment about how Nilsson's voice bored into the back of a concert hall, Rysanek's nevertheless enveloped the whole theatre in Melbourne, while it remains one of the greatest soloist singing experiences I've had since my first live opera - indeed Rheingold! - in 1984.
@@jasonhurd4379 Those Walküres with Vickers in '76 still live in my memories.
I did standing room for every one.
Likewise the Frau of that same year. and Ursula Schröder-Feinen..well, the entire cast... insanely wonderful.
I love my Leonie !
She also did a few of the Sieglindes in the new Ring cycle of 84?/85?
@@artistsf1 I only saw the Sunday matinee of FroSch in 76, but I remember it well. Schröder-Feinen was astonishing. She got a bigger ovation than Rysanek! And the production was magical. When I see the gibberish that passes for FroSch productions nowadays, I realise how fortunate I was to see that production, far more more faithful to the libretto.
I saw Modl in Electra in Munich around 1970.
I've never understood what the fascination is with this recording, or with Furtwängler in general, but am glad to see it's been preserved and remastered. Thanks for uploading - it's really great that people can have access to these old recordings.
Das ist ja aber schade.
Just listen to it! This is so beautiful! Furtwangler understands the meaning of the story, the philosophy, al the layers, and translates them so we can understand on an emotional level.
Thank you so much for bringing this back!
The more I attempt to understand the Ring, the more I am absolutely blown away.
It would be great in my humble opinion if maestros today would attempt to bring back the great and magnificent productions again like Furtwangler. Instead, the proclivity nowadays seems to be to time bound Wagner’s Ring, through the appropriation of the Ring by using it as a vehicle for current social commentary...making the timeless themes in the Ring so insular and limited.
Well, the Ring was written by Wagner as social commentary or - as he put it - "to explain the revolution". He wrote it after the failed revolution of 1848 and consisted his political and philosophical beliefs of that time. Of course its also a deeply personal work and while he composed it he changed some of his philosophical ideas which did not affect the text but the music.
@@paulhoffmann3405 Yes, but he outgrew that concept over the years it took him to complete it. I think other ideas came to the fore. Personally, I think he buried those 1848 ideas in Siegfried's Funeral March and the second ending with Brunhilde was about other ideas that had been possessing him and were growing in that massive brain.
@@Operafreak9 Well one should note he didn`t really change anything about the text itself. There was an closing monologue of Brunnhilde which he deleted. This monologue would have contained the "morals" of the "Ring" in a definite way - contracts, state, morals, ownership is destructive, only love can give you bliss, so a "socialist utopia" as Nietzsche called it. He tried to write a second monologue which is more about Schopenhauer, Brunnhildes death then appears to be as a negation of life but he deleted it as well. He talked clearly about it - the music says it all. And the music sees the destruction of the gods, the victorious Siegfried theme (the free human) played together with the demise of the gods (the state) and the final theme which was first introduced when Brunnhilde sees love as superiour to power in "Walküre". So the music really says it all. Of course there are tons of other interpretations possible and you feel a certain joy and ecstasy in the destruction of everything which is deeply unsettling but probably exactly how Wagner felt.
@@paulhoffmann3405 Paul, I hope my reply is not to windy, but with Wagner there is only the giant economy size. I have grown with my response to Wagner over several decades; I keep changin in my response and assessment of my responses, and I am in a totally differnt place from where I was just a few years ago, primarily because of "Finding an Ending" by Kitcher and Schacht. They implied the first ending of the cycle I mentioned above with Siegfried's death, but my understanding of what they say is that ultimately none of the philosophies Wagner had followed satisfied him totally. So, it is true everything came crashing down but there was magnificent hope in it. Wagner interwove evverything into the culmination of "The Immolation Scene." Kitcher and Schact said the themes of nature (Rhine), Siegfried, Walhalla all rang out in glorious dignity beyond their previous statements, but they all come crashing down in a marvelous diminunedo and are wrapped in the final orchestral statement of the second hearing of the glorious "Most glorious rapture" that had been directed to Brunhilde in its first appearance in the cyce, and sung by Sieglinde in a kind of "Magnificat." It is obvious in that Wagner giving the final word to this music in a grandeur beyond anything in the cycle was paying special tribute to Brunhilde as the answer to all the conflicts he had intoduced. K and S say that the reason is that in that utter desolation, she acts out of her own volition. Out of what looked like total annihilation, she still acted and made a sacrifice of herself to give meaning to Wotan's defeat, to make it heroic rather than ignonminous. Al berich was not victorious. The ring was restored,to the Rhinemaidens and balance achieved buut she showed that humanity was capable of acting within a universe without any final meanings. Interesting to me is that Wagner retained a bit of the "Nibelungilied" with the firey cataclysm, and part of the idea of Ragnorak with the fate motif that permeates the fourth drama. I thi nk Wagner remained a revolutionary, but like Hegel, he adapted to his hew-found fame and some kind of financial security.
I understand "I think: when Wagner said it would all be made clear in the music. This interpretation works for me. Anything else would have been didacic and would ahve diminished the entire cycle. There is no solution for the life, no formula for the future, but the wonderful optimism that rises up from the ashes is because of Brunhilde. She represents what is best in humanity, and ideal beyond all contingencies.
@@Operafreak9 Thank you very much for your reply. Well certainly you can look at it from very different perspectives and it changes every time you look at it. Maybe two additions to what you said. Wagner himself said zu Cosima while composing the scene he could just write "do it like Tristan" in the score after Siegfrieds funeral highlighting the parallel between both endings. At the same time he jokingly said he should rename the piece "The Trial of the Gods" (Göttergericht o.ä.) because Brunnhilde holds the Gods accountable for their crimes. Another saying about the ending was something I liked very much: He said the music has no real ending. It can always go to the contrary, finding a new new form, develop but its never really finished. I always loved that because in a way it frees his art of ideology. Ideology always needs an ending and Wagners ideas were sometimes revolutionary, sometimes dangerous, sometimes both but this statement makes it clear for me that there is sort of an open end at the end of the "Ring".
Ludwig Suthaus deserves an special mention, I read recently: "Compared with other representatives of his time, Suthaus sang remarkably soft and smooth.
In his memories Rudolf Schock stated, he himself was the first lyrical Wagner tenor. Pure lyrical Wagner singing, a skill that was often missed. In contrast to his intense but unappealing singing, the voice of Suthaus is a balm to my ears..."
Another quote: "When you hear Suthaus, you will understand why they called once a 'A German Belcanto Singer'. After the war, he became a favorite of Furwängler, who saw him as the finest dramatic tenor of his time."
My endless standing ovation for him, the best Wagnerian singer ever👏👏👏👏👏👏👏👏👏
I personally prefer Melchior, though I will allow that in terms of musical accuracy and nuance, he (Melchior) left somehing to be desired. In any case, Suthaus is also amazing (and accurate and subtle too!)!
Suthaus was not Lyrical at all. a very much overrated Tenor, whom I saw many times, Melchior whom I also saw, was Lyrical he had more colour and his Tristan was the greatest I ever saw, nobody came close to the man who sang well over Two Hundred Tristan's, also he sang the Complete work without any problems, also he had a larger voice than Suthaus and he could sing the written notes in Wagner even a High C if required, I find Furtwangler rather short on Pathos, Tristan was a Celtic knight not an SS Feldwebel.
I heard Reiner Beecham and Furtwangler with Melchior, the first two got the best out of him, Herr Furtwangler tried to take the best out of Melchior. I have just passed my 104th Birthday and I can remember those performances they never leave you, there was very little Belcanto in Suthaus , he often sang flat!
Volker whom I also saw was a very lyrical Wagnerian Tenor, but with great beauty of tone and a first rate actor as well, Pistor was an excellent Parsifal and also a very good Tristan, Lorenz was head and shoulders above these all, except for Melchior.
I actually interviewed Melchior, Lorenz and Vinay in the fifties and early sixties for an Opera Magazine that I wrote Freelance for , all were Intelligent and easy to talk too Vinay was a fascinating Man and singer. Melchior Suthaus and Vinay all began as Baritones.
@@robertevans8010 Did you see Birgit Nilsson live? Who was born maybe the same year as you!
The first recording of this work that I bought back in 1992: a discovery that changed my life and opened a new world for me. Although I have the CD's and LP's, thanks for the post.
It’s really a regret that Ludwig Suthaus was not recorded enough: 1943 Bayreuth Meistersinger, 1956 Bayreuth Ring, not as Siegfried or Sigmund but as one & only(!) Loge, 1949 Berlin Tannhauser, and a few excerpts only. Anyhow what a gratitude we can hear him now even in Metro! Thousand thanks!!
김상범 Very underrated.
For me he is the greatest Wagnerian singer!
Omaira Gamboa Jawohl!!
Don’t forget also Furtwängler Rome Rings where he sang Siegfried superbly, weighty yet lyrical..
Unless I'm totally senile, he's in the very famous Furtwangler recording of Tristan, as Tristan.
Un chef d'oeuvre incomparable du génial Wagner !!! Et il en a composé d'autres !!!
Amazing audio. I can hear every German word. Thank you!
Finally I hear a recording and can understand what they are singing- I am German. I the accent of the singers is too strong they can sing very nice but I one can not understand one word (as with Gwyneth Jones) it is not the real deal.
@@gillan5 so you should listen to Bayreuth recordings staged by Wieland Wagner. He worked a lot on the meaning of the text. Bayreuth: 1950s and 60s.
Chris Wilbur: We’ll obviously you would hear every GERMAN word since it is sung in German! Were you expecting French or English?!?!
Thank you so much for this. Martha Mödl is one of my favorites!!
Gloriosa versión, gloriosas voces que no volverán...
Martha Mödl era una mezzo corta, pero bueno, lo suyo era arte, lo dijo la propia Varnay.
@@aliena2979 Ahh Astrid "la inalcanzable".
An extraordinary rendering, unlike any other that I have heard until now.
Magnifique ,quelle puissance ,merci
Mis CDs han sido "robados" por la mia figlia. Grazie mille por compartirlo!!!
My first Wagner love. Know many great recordings but this assemblage is magic.
Qué maravilla la flexibilidad dramatúrgica de los tempos!!
Grandioso.
I love this music so much I've just bought the CD! Sublime interpretation. Richard Wagner's uplifting compositions reach the soul....
And now listen carefully, dear fans, because here you can hear quite clearly that there is no such thing as "Wagner singing". Suthaus is blessed with a legato culture and interprets every word, Mödl is probably the one with the biggest heart among the great Brünnhilden, nobody shouts, everyone sings the text clearly and knows what they are doing. And there's probably no need to say a word about Furtwängler. He internalises Wagner's entire dramatic world with a warmth that no one else could develop.
Superbe , notre trésor personnel , celui qui touche au cœur et l’esprit .
SUPERB!
Una auténtica joya.
thank you
Ferdinand Frantz. Omg.
Shivers.
Semplicemente grandiosa
Thanks 4 posting. Truly loved it
Merci ♥
💙💙💙
Immense chef d'orchestre que Furtwangler, dans Wagner bien sûr, mais tous les autres compositeurs également
Beautiful 🌹
The Master in his final year. Devastating.
Thank you.
It does sound wonderful
I'm surprised I never cared for Wagner but i enjoyed this.
♥♥♥
THE recording. Only Furtwangler baton had the furtive restless pulse Wagner intended. With Rysanek-perfection. Worth remembering that Wagner’s favorite composer was Bellini. Lyrical intense intimate ‘soap opera’ character interaction not bombastic stentorian grand standing. Bellini also influenced Richard Strauss’ legato. The tenor aria in Rosenkavalier is not satire but tribute to the great Italian’s legato.
congratulations for unlocking this one; gosh, unmatched .... far better then Krauss and Knappertsbusch even!
:-)
Aaron johns: But not better than Solti or Keilberth’s recordings with better casts.
Rysanek is a force of nature!!
Wonderful 😊 Wagner.
Merci d’avoir parfois sous-titré en français !
Beaucoup de félicitations tout d'abord pour l'excellent travail réalisé ici sur TH-cam. Je voulais acheter cette version (nouvelle mastering en 2017 par AB) mais je ne la trouve pas à vendre. Pouvez-vous m'aider? Merci beaucoup. Et encore mes félicitations!
Merci pour votre commentaire. Ce remastering est un travail spécialement fait pour la chaine youtube. Cependant la version originale (premier pressage EMI ANGEL) est déjà excellente. Voici le lien pour l'achat
www.amazon.fr/Die-Walkyrie-Richard-Wagner/dp/B000005GOI/ref=sr_1_12_twi_aud_2?ie=UTF8&qid=1511904769&sr=8-12&keywords=furtwangler+walkure
Régalez-vous et belle écoute !
2:39:40 - Act 3
What everybody came for
don't think so...
Matcha Latte Capuchinno: No, there are better third acts in life and on other WALKURE recordings. But to each his/her own. One has to appreciate the entire recording/work.
@@johnpickford4222y tú qué sabrás, idiota
It's interesting that WF preferred working with Frantz as Wotan rather than the far more distinguished Hotter.
SredniVashtar: Evidently “distinguished” is a matter of opinion. Perhaps Frantz was more agreeable to Furtwangler’s concept or Hotter’s voice was not what the conductor had in mind. After all Modl is a mezzo not a soprano and used in the ‘55 second Bayreuth cycle AFTER Varnay.
@@johnpickford4222 Hotter was a great artist but he wasn't always a great singer and his voice could sometimes let him down due to his asthma and hay fever. Frantz was probably more reliable, if a bit dour and matter-of-fact in his interpretation. I have heard it suggested that Furtwangler wasn't really interested in singers all that much, and thought that the real interest in Wagner lay with the orchestra, so it would make sense that he went for someone like Frantz rather than the lieder singer Hotter. Walter Legge didn't rate Hotter that much either and preferred Walter Berry for the Klemperer Fidelio recording, even though Hotter had sung the role of Don Pizarro in the production that preceded the recording.
I’m not to overly enthusiastic about how the horn is being arranged in this recording. Otherwise it’s absolutely brilliant.
This recording is so surprisingly good. But Rysanek's absolutely riveting screams are missing.
Yes, further to the famous live Bohm Bayreuth recording, the joke was that James King knew how to use his 'sword' when it came to making Rysanek scream.
@@killmrdarcy4367 You are so delightfully naughty.
@@killmrdarcy4367 ;)
@@hrh4961 but well instructed about the Karl Böhm recording ;)
@@gaulandisteinverbrecherisc6259 You obviously know your Bohm, while Jimmy King no doubt knew that Rysanek was VERY 'pleased to see him' after she'd asked him the great Mae West question, "Is that a gun in your pocket?"! ;-)
富特萬格的最後一張唱片
Yuen Fung: REALLY! OMG! I always wondered why he stopped recording. I thought he just quit and found another profession. Thanks for letting everyone know.
ilber ortaylı izindeyiz
Had Furtwangler fled the Nazis, what would have become of the Berlin and Vienna Philharmonic Orchestras?
4 sets of ads in less than 15 minutes in is a bit much.
Hahahahahaha yes
Steve Hugel: Do you work for free? TH-cam has to make a profit somehow and that’s how they do it. YOU CAN ALWAYS BUY THE RECORDING AND LISTEN WITHOUT HAVING TO WORRY ABOUT THE ADS! It’s your choice.
2:55:50
Anche se Furtwangler non mi appassiona più di tanto per una serie di motivi, devo riconoscere che tutta la Tetralogia eseguita da lui è decisamente migliore di tante altre. Segnalo in particolare quella del ciclo al Teatro alla Scala del 1950. Meravigliose quelle di Clemens Krauss a Bayreuth e di Hans Knapptersbusch
This is great. Listen to the Solti (Decca) for stereo.
So many ads........
Kevin: So little time! Get Adblocker.
uBlock Origin. Nothing else needed.
@@johnpickford4222ya se lo he dicho antes. Es usted un imbécil.
Wagner Parsifal
Vtdfcklmdgfshthgmtvkkmlrrbbffjdjkndurjkdmidjsytcdmkxsdgmegshgkujhtdshgwutvhkxdvrxjhekkrkjixabvjdvkjgftsidutlotfijsgftrtouigjgfydsbgkffvrfgkrokhdvfsbf
Easy for you to say.
@@hrh2842 LMA O.
Catherine Malian: I agree, however get f**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**kedgetf**ked. Get it?