WAGNER Operatic Highlights RICHARD STRAUSS Tone Poems, Metamorphosen. Philharmonia Orchestra, New Philharmonia Orchestra / Otto Klemperer. EMI 5cds

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Wagner Operatic Highlights Richard Strauss Tone Poems Otto Klemperer EMI

  • Wagner Operatic Highlights Richard Strauss Tone Poems Otto Klemperer EMI
  • Wagner Operatic Highlights Richard Strauss Tone Poems Otto Klemperer EMI

WAGNER

Operatic Highlights; R. Strauss: Tone Poems

Otto Klemperer

CD1

Richard Wagner 1813–1883

Rienzi

1 Overture 11.33

Recorded: 2 & 3.III.1960

Tannhäuser

2 Overture 14.47

Recorded: 23 & 24.II.1960

3 Act 3: Prelude 8.18

Recorded: 3.III.1960 - 1963

Lohengrin

4 Act 1: Prelude 9.57

Recorded: 25.II. & 3.III.1960

5 Act 3: Prelude 3.01

Recorded: 27.II.1960

Die Meistersinger von Nürnberg

6 Act 1: Prelude 10.58

Recorded: 1 & 2.III.1960

7 Act 3: Dance of the Apprentices & Entry of the Masters 6.52

Recorded: 8.III.1960

Parsifal

8 Act 1: Prelude 13.07

Recorded: 14.XI.1961 - 1963

Philharmonia Orchestra

Recorded: Kingsway Hall, London

Producers: Walter Legge & Walter Jellinek - Balance engineer: Douglas Larter

- 2002*

CD2

Der fliegende Holländer

1 Overture 10.49

Recorded: 24 & 25.II.1960

Das Rheingold

2 Scene 4: Entry of the Gods into Valhalla 8.13

Recorded: 24.X.1961 - 1963

Die Walküre

3 Act 3: The Ride of the Valkyries 2.55

Recorded: 10.III.1960 - 1963

4 Siegfried Idyll 17.51

Recorded: 24.X. & 13.XI.1961

Siegfried

5 Act 2: Forest Murmurs 8.28

Recorded: 24.X. & 13.XI.1961 - 1963

Götterdämmerung

6 Interlude: Siegfried’s Rhine Journey 6.08

Recorded: 1 & 2.III.1960

7 Act 3: Siegfried’s Funeral March 7.40

Recorded: 27.II.1960 - 1963

Tristan und Isolde

8 Act 1: Prelude & Act 3: Liebestod 15.48

Recorded: 1 – 3.III.1960

Philharmonia Orchestra

Recorded: Kingsway Hall, London

Producers: Walter Legge & Walter Jellinek - Balance engineer: Douglas Larter

- 2002*

CD3

Die Walküre

Act 1

1 Prelude (Orchestra) 4.22

2 Wes Herd dies auch sei, hier muß ich rasten (Siegmund/Sieglinde) 8.57

3 Einen Unseligen labtest du (Siegmund/Sieglinde) 4.23

4 Mud am Herd fand ich den Mann (Sieglinde/Hunding/Siegmund) 5.08

5 Friedmund darf ich nicht heißen (Siegmund/Hunding/Sieglinde) 6.39

6 Die so leidig Los dir beschied (Hunding/Sieglinde/Siegmund) 4.40

7 Ich weiß ein wildes Geschlecht (Hunding) 7.07

8 Ein Schwert verhieß mir der Vater (Siegmund) 5.53

9 Schläfst du, Gast? (Sieglinde/Siegmund) 7.53

10 Winterstürme wichen dem Wonnemond (Siegmund) 3.01

11 Du bist der Lenz (Sieglinde) 2.18

12 O süßeste Wonne! (Siegmund/Sieglinde) 6.59

13 Siegmund heiß’ ich (Siegmund) 4.15

Sieglinde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HELGA DERNESCH

Siegmund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WILLIAM COCHRAN

Hunding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..HANS SOTIN

New Philharmonia Orchestra

Recorded: 22–24 and 31.X., 3.XI.1969 and 26–27.X.1970, All Saints’ Church, Tooting, London

Producer: Suvi Raj Grubb -Balance engineer: Martin Benge & Michael Gray _ 1973/1994*

CD4

Die Walküre

1 Leb’ wohl, du kühnes, herrliches Kind! (Wotans Abschied, Act III) 19.34

Norman Bailey baritone

New Philharmonia Orchestra

Recorded: 26 & 27.X.1970, All Saints’ Church, Tooting, London

Producer: Suvi Raj Grubb - Balance engineer: Michael Gray 1973/1991*

Wesendonck-Lieder (orch. Mottl)

2 I. Der Engel 3.55

3 II. Stehe still! 4.03

4 III. Im Treibhaus 6.41

5 IV. Schmerzen 2.38

6 V. Träume 4.58

Tristan und Isolde

7 Mild und leise (Isoldes Liebestod, Act III) 6.48

Christa Ludwig mezzo-soprano

Philharmonia Orchestra

Recorded: 21–23.III.1962, Kingsway Hall, London

Producer: Walter Legge - Balance engineer: Douglas Larter - 2006*

Richard Strauss 1864–1949

8 Metamorphosen for 23 solo strings 28.04

Philharmonia Orchestra

Recorded: 3 & 4.XI.1961, Kingsway Hall, London

Producer: Walter Legge -Balance engineer: Douglas Larter - 1999*

CD5

1 Don Juan Op.20 17.03

Recorded: 9 & 10.III.1960

2 Tod und Verklärung Op.24 22.25

Recorded: 23.X. and 13.XI.1961

Salome Op.54

3 Dance of the Seven Veils 9.03

Recorded: 5.III.1960

4 Till Eulenspiegels lustige Streiche Op.28 15.04

Recorded: 9 & 10.III.1960

Philharmonia Orchestra

Recorded: Kingsway Hall, London

Producers: Walter Jellinek (3); Walter Legge & Walter Jellinek (1, 2, 4)

Balance engineers: Douglas Larter (1, 3, 4); Nevile Boyling (2) - 1998*

Otto Klemperer

Compiled by: Richard J. Bradburn

Cover photo: Lotte Meitner-Graf

This collection sees Otto Klemperer lead the Philharmonia and New Philharmonia orchestras in compelling performances of works by Wagner and Richard Strauss. The set features highlights from each of Wagner’s most acclaimed operas, as well as Strauss’s Don Juan and a 1962 account of Tod und Verklärung that was hailed as one of Klemperer’s finest late recordings.

Ambivalent is the word which best describes Klemperer’s feelings about Germany’s two great musical Richards, Wagner and Strauss. During his early years as an opera conductor in Germany, Klemperer conducted a modicum of Strauss and a good deal of Wagner, though from the outset it was clear that he was never going to be an unthinking fan of either. The music of both composers did, nonetheless, cast its spell. Recording Act 1 of Wagner’s Die Walküre in London in 1969 was, he said, like meeting a woman he had loved 40 years ago and discovering that she was much as she had always been. He went on: ‘I find the music thrilling. Thrilling! One can say this or that about Wagner, but no one else could have written that music. No one! It’s as stupid to underestimate Wagner as it is to overestimate him. He doesn’t need either’.

Klemperer’s attitude to the operas of Richard Strauss was no less mixed. He thrilled to Salome, which even as an old man he considered to be one of the twentieth century’s most original scores, revered Elektra, and took great delight in Ariadne auf Naxos. On the other hand, he found too much ‘sugar-water’ in Der Rosenkavalier and was baffled by Die Frau ohne Schatten of which he conducted a handful of performances in Cologne in 1919.

The Strauss work which had first impressed Klemperer – he was 15 at the time – was Tod und Verklärung. What struck the young enthusiast was the quality of the orchestration and the remorselessness of the build-up of the thematic material, qualities Klemperer would later bring to his own reading of a work which does indeed advance implacably towards its sought-for goal: the soul’s transfiguration as memories of childhood visions and unattained artistic ideals grandly mingle.

Knowing the man as he did, Klemperer experienced few difficulties in coming to terms with Strauss’s equivocations during the Nazi era. As the Second World War drew towards its close Strauss began working on Metamorphosen, a threnody for 23 solo strings born of the trauma of wartime cultural loss: the Goethe house destroyed, Dresden, Munich, Weimar all in ruins. ‘Basically quite nice’ was Klemperer’s laconic comment on the piece, yet no one was more eager to conduct it, an ambition he realised in Budapest in March 1948. Klemperer’s coupling of Metamorphosen with Tod und Verklärung on an LP first released in 1962 was widely welcomed as one of the finest of all his late recordings.

EMI Classics 5cds 2484682

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