-
COMPOSERRichard Wagner
-
PERFORMERAnja Kampe, Stephen Gould, Rene Pape, Staatskapelle Dresden
Wintersturme - Concert with Excerpts from Wagner`s "The Ring of the Nibelung"
- Profil
- July 1, 2022
-
RELEASE DATEJuly 01, 2022
-
UPC881488220384
-
CATALOG NUMBERPH22038
-
LABELProfil
-
NUMBER OF DISCS2
-
GENRE
-
Act I: Prelude
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
-
Act I: Wess' Herd diess auch sei
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Einen Unseligen labtest du
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Müd' am Herd fand ich den Mann
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Anja Kampe
Conductor: Christian Thielemann
-
Act I: Friedmund darf ich nicht heissen
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Die so leidig Los dir beschied
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: René Pape
Conductor: Christian Thielemann
-
Act I: Ein trauriges Kind rief mich zum Trutz
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Ich weiss ein wildes Geschlecht
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: René Pape
Conductor: Christian Thielemann
-
Act I: Ein Schwert verhiess mir der Vater
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Schläf'st du, Gast?
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Anja Kampe
Conductor: Christian Thielemann
-
Act I: Der Männer Sippe sass hier im Saal
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Anja Kampe
Conductor: Christian Thielemann
-
Act I: Winterstürme wichen dem Wonnemond
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I: Du bist der Lenz
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Anja Kampe
Conductor: Christian Thielemann
-
Act I: O süsseste Wonne! Seligstes Weib!
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould, Anja Kampe
Conductor: Christian Thielemann
-
Act I: Siegmund heiss' ich, und Siegmund bin ich!
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Act I Scene 3: Siegmund, den Wälsung sieh'st du, Weib!
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Stephen Gould
Conductor: Christian Thielemann
-
Morgendämmerung
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
-
Prologue: Siegfrieds Rheinfahrt (Siegfried's Rhine Journey)
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
-
Act III: Siegfrieds Trauermarsch (Siegfried's Funeral March)
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
-
Act III: Starke Scheite schichtet mir dort
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Performer: Anja Kampe
Conductor: Christian Thielemann
-
Morgendämmerung
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
-
Act III: Finale
Composer: Richard Wagner
Ensemble: Staatskapelle Dresden
Conductor: Christian Thielemann
Featuring ⌄
Product Details ⌄
Works ⌄
Christian Thielemann on Wagner’s Ring of the Nibelung “From 2006 to 2010, I spent some 300 hours in the orchestra pit in Bayreuth just on the Ring… Each year I looked forward to this task anew, and I am by no means of the opinion that I have completely finished with it. The Ring is so multifaceted musically that it can never exhaust one’s curiosity and one’s urge to explore further. In the Ring, the conductor feels like a battery that is permanently being recharged. That’s because of the contrasting worlds you move through for 15 whole hours, and the four highly different temperaments of the tetralogy. The orchestra is gigantic, with contrabassoon, bass tuba and eight horns – yet how nuanced and differentiated Wagner’s handling of this machine is!... As I see it, then, the Ring cuts a swathe through “the German sound”, it shows its extremes and its facets, from light and playful to heavy, serious and fraught with meaning. The German sound, Wagner teaches us, is never only the one thing and never just the other. Holländer, Tannhäuser, Lohengrin, Tristan, Meistersinger: when he comes to the Ring, Wagner starts again from scratch. In its compositional technique, in its treatment of the orchestra, in terms of its dimensions, harmonically, everything is different. When he composed the Ring, Wagner had no orchestra at his disposal to test whether what he imagined actually worked. Everything was playing out in his head. When he finally heard it in 1876, he did alter a thing or two – and would undoubtedly have liked to make even more alterations later. Not that I see any point in speculating about it. We have to address ourselves to the work as it is, and that task is hard enough.”
- Choosing a selection results in a full page refresh.
- Press the space key then arrow keys to make a selection.
