There exists a strange, somewhat ambiguous, bond between Wagner and the instrument symbolic of the romantic generation: the piano. Strange because Wagner’s fingers were not very much at ease on a piano keyboard - to the point that in his lifetime this gave rise to a number of hilarious anecdotes about his technical ineptitude.

That notwithstanding, scholars and performers are left to deal with a rather considerable number of piano works by Richard Wagner, among them, several occasional pieces, often quite short, which is interesting, when we consider the general length, instead, of the composer’s lyrical works.

It shouldn’t surprise us that, up to recently, critics and even performers have paid little attention to the works featured here: comparison with Wagner’s operas and the innovation they introduced is, to all appearances, too crushing for them to take an interest in these short pieces conceived for practical purposes and destined for private use. And yet such an approach appears gratuitously defeatist, obscuring an output that can be quite fascinating and which, what is more important, is essential towards understanding the Maestro’s stylistic evolution.

Thanks to Wagner’s piano works, indeed, we are now able to retrace ”from the inside” almost his entire professional path. - Dynamic

Also available on Blu-ray

This production of Wagner’s Tristan und Isolde, directed by Pierre Audi, has received high acclaim in Paris and Rome. “Pierre Audi is one of the few directors who works with Wagner by subtraction, imagining the story in a minimalist dimension, out of time, abstract: … Don't miss it.“ (Il Messaggero). "The Orchestra of Teatro Opera of Rome proves with this interpretation that it is one of the best opera house orchestras in Europe.“ (KlassikInfo.de) “Ecstasy, emotion and effect unleashed by Daniele Gatti at the podium of the Orchestra was overwhelming.“ (News.at). “Excellent Andreas Schager as Tristan, vocally strong Rachel Nicholls as Isolde.“ (KlassikInfo.de) “Brilliant! Gatti is a supreme Wagnerian, gloriously aware of all the kinesthetic requirements. Schager is convincing, Nicolls among the great Isoldes I've heard. If your ambition is to increase your understanding of Tristan, beg, borrow or steal a ticket.” Jack Buckley, SEEN AND HEARD

To follow the release of its November 2015 recording of "Das Rheingold" – the “preliminary evening” of Richard Wagner's cycle "Der Ring des Nibelungen" - BR-KLASSIK is now continuing the cycle with "The Valkyrie". The concert performances were recorded on February 8 and 10, 2019 in the Herkulessaal of the Munich Residenz. With his "Rheingold", Sir Simon Rattle has already decisively disproved the longstanding claim that he and Wagner were unsuited to one another. This next collaboration between the Symphonieorchester des Bayerischen Rundfunks and the British conductor – with his white curls, wisdom, and confident pose on the cover – not only features a team of first-rate Wagner singers but also reveals once again how well Rattle understands and interprets Wagner's music. Only a few months after the live event, this mighty music drama – a huge success with the public – is being released for the first time on four very fine albums.

Reasons why "The Valkyrie" has become the most popular part of the tetralogy include the heart-rending encounters between the two Wälsungs Siegmund and Sieglinde, the all-too-human gods – and, of course, such musical highlights as Siegmund's "Winter Storms" monologue, “The Ride of the Valkyries”, or "Wotan's Farewell and Magic Fire Music”. Wotan, the father of the gods, is sung by the English bass-baritone James Rutherford; Elisabeth Kulman is back as his argumentative wife Fricka; Eric Halvarson, who was the giant Fafner in Rattle's "Rheingold", now sings the part of the evil Hunding. New additions to the star-studded ensemble of soloists include Irène Theorin as Wotan's favorite daughter Brunnhilde, and Stuart Skelton and Eva-Maria Westbroek as the incestuous twins Siegmund and Sieglinde.

"This is a production to cherish, brilliantly realised for DVD, which should be in the collections of all serious Wagnerians. I suspect the Valencia Ring may well turn out to be the classical DVD event of the year." -- MusicWeb International

Richard Wagner
DER RING DES NIBELUNGEN

DAS RHEINGOLD

Wotan – Juha Uusitalo
Donner – Ilya Bannik
Froh – Germán Villar
Loge – John Daszak
Alberich – Franz-Josef Kapellmann
Mime – Gerhard Siegel
Fasolt – Matti Salminen
Fafner – Stephen Milling
Fricka – Anna Larsson
Freia – Sabina von Walther
Erda – Christa Mayer
Woglinde – Silvia Vázquez
Wellgunde – Ann-Katrin Naidu
Flosshilde – Hanna Esther Minutillo

DIE WALKÜRE

Siegmund – Peter Seiffert
Hunding – Matti Salminen
Wotan – Juha Uusitalo
Sieglinde – Petra-Maria Schnitzer
Brünnhilde – Jennifer Wilson
Fricka – Anna Larsson
Gerhilde – Bernadette Flaitz
Ortlinde – Helen Huse Ralston
Waltraute – Pilar Vázquez
Schwertleite – Christa Mayer
Helmwige – Eugenia Bethencourt
Siegrune – Heike Grötzinger
Grimgerde – Manuela Bress
Rossweisse – Hannah Ester Minutillo

Recorded live from the Palau de les Arts "Reina Sofia", Valencia, Spain, 2008.

SIEGFRIED

Siegfried – Lance Ryan
Mime – Gerhard Siegel
Der Wanderer – Juha Uusitalo
Alberich – Franz-Joseph Kapellmann
Fafner – Stephen Milling
Erda – Catherine Wyn-Rogers
Brünnhilde – Jennifer Wilson
Waldvogel – Marina Zyatkova

Recorded live from the Palau de les Arts "Reina Sofia", Valencia, Spain, 2008.

GÖTTERDÄMMERUNG

Siegfried – Lance Ryan
Gunther – Ralf Lukas
Alberich – Franz-Josef Kapellmann
Hagen – Mattil Salminen
Brünnhilde – Jennifer Wilson
Gutrune – Elisabete Matos
Waltraute – Catherine Wyn-Rogers
First Norn – Daniela Denschlag
Second Norn – Pilar Vázquez
Third Norn – Eugenia Bethencourt
Woglinde- Silvia Vázquez
Wellgunde – Ann-Katrin Naidu
Flosshilde – Marina Prudenskaja

Recorded live from the Palau de les Arts "Reina Sofia", Valencia, Spain, 2009.

Valencia Regional Government Choir (Cor de la Generalitat Valenciana)
Valencian Community Orchestra (Orquestra de la Comunitat Valenciana)
Zubin Mehta, conductor

La Fura del Baus, staging
Carlus Padrissa, stage director

Bonus:
- The Making of the Ring

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 (opera) / Dolby Digital 2.0 (bonus)
Region code: 0 (worldwide)
Subtitles: German, French, English, Spanish (opera) / English (bonus) Booklet notes: German, French, English
Running time: 15 hours 52 mins (opera) + 1 hour 48 mins (bonus)
No. of DVDs: 8 (DVD 9)

Recorded live from the Palau de les Arts "Reina Sofia", Valencia, Spain, 2007.

The Janácek Philharmonic Orchestra stuns with a new recording of Richard Wagner's three-act opera TRISTAN AND ISOLDE. Skillfully conducted by German conductor Robert Reimer, this new, vibrant performance is likely to claim its place as one of the reference recordings of Wagner's innovative work. As novel as the opera was in its time, it didn't go down well with all of the composer's contemporaries. Rossini quipped that while Tristan had great moments, it also had terrible quarter-hours. Worse yet, the author of Wagner's main inspiration was even less impressed: Arthur Schopenhauer, the ingenious German philosopher whose stoic advice to rebuff the animalic Will to Live for happiness's sake underpins large parts of the opera, sided with Rossini (incidentally the thinker's favorite composer). Unluckily for Wagner, it was impossible to discredit Schopenhauer's opinion as that of an amateur: the philosopher played the flute with virtuosic skill, understood music like few others, placed it at the top of all art forms in his philosophy, and justly became a favorite among musicians for his perspicacious assertion that music was one of the few things in which the essence of Being could very briefly be perceived, even if doing so wasn't possible otherwise. Modern-day Wagnerians will be happy to hear that conductor Robert Reimer and the Janácek Philharmonic Orchestra have a more favorable opinion of Wagner, performing the volatile composer's opera with great verve and conviction. It's a splendid pairing to be sure: a much sought-after conductor familiar with orchestras all across Europe, and a wonderful ensemble to do his bidding. This arrangement works to the favor of everyone involved. Some might wish this recording had existed 160 years ago.

Includes work(s) by Richard Wagner.

Classical Music

This epic collection brings together all of Opus Arte's recordings from the Bayreuth Festival. Included are many of Wagner's much-admired operas which show how the mastery of composer, conductor, and performer can combine to create a true musical excellence. Wagner's epic four-opera cycle, Der Ring des Nibelungen, is a work of extraordinary scale and is given an interpretation that is both thrilling and sensitive by the conductor Christian Thielemann and a cast of renowned Wagner interpreters. Thielemann also presents an incredible account of Der fliegende Holländerin a recording which secured his place as the world's greatest Wagner conductor. Klaus Florian Vogt is staggering in the title role of Lohengrin, with Andris Nelsons brings out the best in the festival chorus and orchestra. This recording of Tannhäuser, Wagner’s tale of the struggle between spiritual and profane love, and of redemption through love, was described by Opera Journal as 'outstanding’, whilst Die Meistersinger von Nürnberg, which tells a humorous tale about artistically inclined craftsmen, was described as ‘on an entirely new Wagnerian scale...” (The Washington Post). The set is completed by the critically acclaimed recording of Tristan und Isolde starring the leading Wagner exponents Robert Dean Smith and Iréne Theorin in the title roles.

Die Walküre is the second part of Der Ring des Nibelungen and has remained the most popular of the tetralogy of operas. Prominent are the lovers Siegmund and Sieglinde who incur the anger of Fricka, goddess of marriage, and whose long duet in the superbly sustained Act I is one of the work’s glories. The spectacular Ride of the Valkyries, the spellbinding music of Wotan’s Farewell and the Magic Fire that closes the opera are other highlights of this critically acclaimed production from Sofia National Opera. Sofia National Opera, founded in 1890, is the oldest and most prestigious Bulgarian opera theatre. Drawing upon the tradition of West European and Russian ballet theatre, its founders, singers and producers have established the ensemble method of a permanent troupe of soloists, orchestral musicians, ballet dancers, set design artists and producers. They produce up to 10 premières of classical and modern opera and ballet over a 10-month season.

Siegfried Wagner, the son of Richard Wagner and his second wife Cosima, composed seventeen operas in total, expertly written in a late romantic style derived from the influence of Humperdinck. His subjects are generally drawn from medieval German sources, often preoccupied with witchcraft and magic. Der Kobold (The Goblin) was created in 1904. A bonus feature includes "The Making of Der Kobold", a film by Stephan Kelch.

Siegfried Wagner
DER KOBOLD

Verena – Rebecca Broberg
Gertrud – Regina Mauel
Ekhart – Andreas Mitschke
Trutz / Satyros – Achim Hoffmann
Fink / Heliodoros – Johannes Föttinger
Kümmel / Faun – Philipp Meierhöfer
Friedrich / Eros – Volker Horn
Der Graf – Nicholas Isherwood
Dei Gräffin / Eukaleia – Martina Borst
Jeannette – Ksenija Lukic
Jean – Marco Bappert
Knorz – Joachim Höchbauer
Käthe – Heike Kohler
Seelchen – Young Jae Park
Galgenmännchen – Franziska Ulrich
Ein Geck – Philipp Hoferichter
Hofdamen – Evdoxia Fotiou, Regina Mauel
Höflinge – Philipp Hoferichter, Johann Winzer

Furth Heinrich-Schliemann-Gymnasiums Children's Chorus Choir
PPP Music Theatre Ensemble, Munich

Nuremberg Symphony Orchestra
Frank Strobel, conductor

Peter P. Pachl, stage director

Recorded at the Stadttheater Fürth, Germany from 8 November to 3 December 2005, and at Stadthalle Bayreuth, Germany on 21 November 2005.

Bonus:
- The Making of Der Kobold – a film by Stephan Kelch (in German only)
- 3D animated version of the set model by Achim Bahr
- Photographs of the production.

Picture format: NTSC 16:9
Sound format: PCM Stereo
Region code: 0 (worldwide)
Subtitles: English, German
Running time: 206 mins
No. of DVDs.: 2 (DVD 9)

What are heroes made of and why do our societies need them so badly? At the Staatsoper Stuttgart, stage director Árpád Schilling tries to answer this mythological, political and existential question, lying at the core of Richard Wagner’s Lohengrin. “A wonder! A miracle!”, the men and women of Brabant agreed when, against all expectations, someone stood up for Elsa and invalidated the allegations made by the plaintiff Telramund. And yet he does the most normal thing in the world: to help a person in distress. So why is there a need for this savior, surrounded by the aura of mystery, whose name and origin even his new wife Elsa cannot ask? Why does the collective body abdicates its moral and political responsibilities and surrenders them to a single individual? And when does the providential man stops being a savior and becomes a threat? For Hungarian stage director Árpád Schilling, a fierce enemy of the very idea of the cult of a personality, and he himself a political exile, these questions lie at the core of Richard Wagner’s Lohengrin. For his new production at the Staatsoper Stuttgart, the stage director recenters the opera on the expressivity of the direction, and strips the stage of all its ornamental or mythological elements. He creates a coming-of-age tale, pervaded by the themes of responsibility, trust, and the relationship between the individual and the collective. This powerful and ambitious proposition is mirrored in Maestro Cornelius Meister’s expressive and philosophical conducting, and in Michaël König, Simone Schneider, Martin Gantner, Okka von der Damerau’s profound singing.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Wagner sourced material for his national legend Der Ring des Nibelungen in medieval German and Scandinavian sagas, though much was his own invention. Das Rheingold is the prologue to this tetralogy of music dramas. It introduces the principal events in this visionary work, the theft by the Nibelung dwarf Alberich of the ring made from Rhine gold, and its seizure by Wotan, ruler of the Gods. This production was recorded in 2010 at the Sofia Opera and Ballet theatre as the first title of the complete Wagner cycle that we will be releasing entirely in separate titles. The theatre’s managing director Plamen Kartaloff succeeded in creating an amazing “Sofia Ring” with local cast and crew, chiseling each detail with care: from singers’s vocal training to set design, lights and costumes, thus delivering a most modern and captivating rendition which was acclaimed by international press.

S. WAGNER Der Kobold • Frank Strobel, cond; Rebecca Broberg ( Verena ); Regina Mauel ( Gertrud ); Andreas Mitschke ( Ekhart ); Achim Hoffmann ( Trutz ); Johannes Föttinger ( Fink ); Philipp Meierhöfer ( Kümmel ); Volker Horn ( Friedrich ); Nicholas Isherwood ( Der Graf ); Martina Borst ( Die Gräfin ); Ksenija Lukic ( Jeannette ); Marco Bappert ( Jean ); Joachim Höchbauer ( Knorz ); Heike Kohler ( Käthe ); Young Jae Park ( Seelchen ); PPP Music Theatre Ens; Nuremberg SO • Marco Polo 8.225329 (3 CDs: 195:27)


Each time I listen to this recording of The Goblin , I am utterly unnerved—do not be fooled by the descending flute figures that cue the overture, like Pan himself coming down to bless the land. Obviously, there is no shortage of warped and twisted librettos, which tend to serve as jumping off points for music yet more warped and twisted, but my goodness, our man Siegfried was exorcising some personal demons with this work—ironically, by enlivening some.


The first “sung” note, once the gentle, autumnal instrumental opening has concluded, is a scream, one that comes through on the recording like a spike—no reverb, no vibrato, just fear, hammered home. We are dealing with a dramatis personae of goblins (including one whose entrance into the world comes courtesy of a mixture of a hanged man’s seed and the yellow grass below), a wizard, some assassins, night phantoms, a few satyrs, a circus collective, a rapist, and such cheery pursuits as infanticide, abortion, flesh trading, and prestidigitation for, shall we say, less than salubrious ends. Good luck sorting out the plot, which is about as close to postmodernism as Siegfried ever got, and features an opera within the opera, and a climax not dissimilar to F. W. Murnau’s Nosferatu , which had the subtitle, intriguingly enough, of “A Symphony of Horrors.”


The quality of the recording itself will jar you, but that’s part of its effectiveness—weapons crash to the ground as though they’ve landed on microphones, or like something is kicking inside the speakers and trying to get out. It’s a fascinating, weird kind of audio-vérité, that further unsettles the nerves; but distortion was Siegfried’s ally in the creation of this work, and some passages even appear, at first, to be atonal. Rebecca Broberg as Verena, the opera’s heroine—a default designation, really, in this case, given her successive and ultimately defeating tragedies—is really stretched on the rack in her exceedingly taxing role, and it is through her vocal lines that we experience whatever empathy—which often takes the forms of anxiety and fear—the opera has to offer. It’s been remarked that for all of its fantastical elements, Der Kobold is something of a gangster story, but the noir -ish element becomes almost hallucinatory in the constant churn of crises, a vortex of demonism, you might say—of both the supernatural and human variety, the latter, of course, always being worse. Cpo has a Siegfried Wagner sampler disc with the West German Radio Symphony Orchestra and Roman Trekel handling an excerpt, but for the whole, vivid nightmare, you’ll need this set to be properly shocked and disturbed. And for those who cherish their illusions of childhood, there is perhaps no 20th-century opera that poses such a menacing threat to any and all forms of latency.


FANFARE: Colin Fleming

Naxos provides the "best" selection of Wagner's "best", eight pieces in 68 minutes. The selections are played in a straight forward fashion and The Polish National Radio and Slovak Philharmonic are both very good orchestras.

Includes aria(s) by various composers. Ensemble: Finnish Radio Symphony Orchestra. Conductors: Kari Tikka, Hanna Bister, Okko Kamu. Soloists: Pekka Nuotio, Jorma Hynninen.

REVIEW:

American Record Guide (11-12/97, p.259) - "...[This collection] shows us a dramatic tenor with a strong high register; his high C, for example in `La donna e mobile' and `Di quella pira' would be the envy of any of today's tenors....His voice in the Italian arias...is quite pleasing, strong, and secure, though it lacked lyrical feeling and flexibility in `E lucevan le stelle'..."