LOHENGRIN

LOHENGRIN WWV 75

In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024

In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024

Classical Music

TOSCANINI COLLECTION VOL 49 -

I began by re-programming this excellent recital into a proper order rather than the nonsensical one chosen by RCA. How could they place Wagner (his items themselves out of chronology) before Beethoven and Weber and then suddenly follow Weber with Korngold? All of which cannot detract from the beauty, reliability and musicality of every item in this pot-pourri of German opera. Heppner must now be counted among the most consistent of tenors in this kind of repertory this century. Particularly welcome is his singing of Tristan's, Siegfried's and Parsifal's music: with his secure technique and sturdy frame these roles have surely found their ideal interpreter for the first decade of the coming century. Much as I dislike bleeding chunks and the way they end in mid-air, such firmly sung and intelligently phrased readings justify the practice on this occasion.

Heppner would also be an ideal interpreter, on this evidence, of Max and Adolar in the Weber operas, the lyrical and dramatic nicely held in balance. Florestan's scena is taken from the complete recording under Sir Colin Davis. Here and in one or two places, you may find the Achilles' heel in Heppner's approach: just occasionally one would like that extra frisson less well-behaved singers such as, say, Ludwig Suthaus and Jon Vickers used to bring to their singing of this kind of music, the feeling that they were living the emotions - and which Heppner himself provides in the rapturous opulence of the Korngold, a substantial bonne houche. In the items, other than the Beethoven. Heppner is admirably partnered by Runnicles, who always makes us aware of the context and, by dint of forward movement and the maintenance of line, avoids the pseudo-profundity of much Wagner conducting these days. The recording is in all respects exemplary. Highly recommended.

-- Gramophone [1/1999]

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

"Much the most valuable items here are the two duets with Flagstad as they haven't been available in Britain for years or not at all. Besides, in the Lohengrin bridal-chamber scene Melchior is almost at the peak of his form, with a fine integration of line and tone, and Flagstad sings with rapt, glowing tone. Though this version hasn't quite the intimacy and tenderness of Melchior's earlier Parlophone version with Bettendorf (reissued in a two-CD Danacord set), it needs to be heard by budding Wagnerians wanting to know what we miss in Wagner singing today. The Tristan duet, again, finds Flagstad singing freshly and ecstatically... As it happens, the other Lohengrin items also find Melchior near his best, suggesting how affecting he must have been in the title-role, one of his favourite parts. Parsifal's ''Nur eine waffe taugt'' and Siegfried's second song at the forge are better heard in earlier versions.

The plums of the non-Wagner items are the Schumann duets with Lehmann—the old partners sing these gemutlich items with delightful spontaneity. One forgets and forgives the unauthenticity of the orchestral accompaniments in the enjoyment given by the exuberant singing. None of the solo songs is remarkable, though it's fun to hear Melchior's unadorned, endearing account of the old ballad, Homing, a previously unissued item."

-- Alan Blyth, Gramophone [10/1990]

For sheer vocal opulence in Wagner, these tracks would be hard to equal. Her ‘Ho-jo-to- ho!’ in 1935 announced on the gramophone her arrival as a Wagnerian prima donna and the splendour of the singing is unsurpassed.

-- Gramophone [10/1990]

TOSCANINI COLLECTION VOL 66 -

WAGNER: PIANO TRANSCRIPTIONS F

Superlative Wagnerian singing - Toscanini keeps the music swiftly and taut, while giving the soloists plenty of room for the most telling, eloquent turns of phrase.

The Walküre Act I excerpt was not published until several years after Toscanini's death, when it was partnered by Götterdämmerung excerpts taken from the same 1941 concert. It would have made this disc still more attractive if both had been included, but as it is we have here a glorious example of superlative Wagnerian singing. Melchior was 51 years old at the time of the broadcast, although you would never guess this from his marvellously youthful, ardent tones, and Traubel was in superb form, too. Toscanini moves the music on quite swiftly and the orchestral phrasing is fairly taut, but neither soloist seems under the slightest pressure, and each has plenty of room for the most telling, eloquent turns of phrase. The balance favours the singers, and I rather fancy that background noise has been suppressed a little too much, but the sound is not at all bad for its date.

I liked the Siegfried Idyll performance very much, for it has an attractive sense of repose and gentle affection, with some very poetic contributions from the solo woodwind. The sound here is pretty good, as it is in the Tristan Prelude and Liebestod, which are played in a lean, clean fashion, beautifully balanced, but rather lacking in passion and atmosphere. There is a slightly cramped sound in the Ride of the Valkyries, but better that it should be here than in the most important items. A most desirable disc, which offers many rewards.

-- A. S., Gramophone [12/1991]

There’s no question that these performances must rank among the most gripping in the catalogue.

Tantalisingly brief chunks that make one regret all the more that Reiner never made a studio recording of a complete Wagner opera. There’s no question that these performances must rank among the most gripping in the catalogue. Not only is the playing stunningly disciplined in execution, but Reiner manages to draw an infinite range of colours from the orchestra. Sound quality in the earlier RCA Victor Orchestra sessions is more variable, but it does not detract in any way from the obvious attractions of this release.

-- Erik Levi, BBC Music Magazine

Selections recorded April 25-29, 1992 and July 23, 1993.