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Wagner: Die Walküre: Act 3; Schippers; Osaka (1967) [Stereo]
Thomas Schippers, NHK Symphony Orchestra
(Recorded 11th April, 1967, Festival Hall, Osaka)
Siegmund - Jess Thomas
Hunding - Gerd Nienstedt
Wotan - Theo Adam
Sieglinde - Helga Dernesch
Brünnhilde - Anja Silja
Fricka - Grace Hoffman
Gerhilde - Lotte Rysanek
Ortlinde - Gertraud Hopf
Waltraute - Erika Schubert
Schwertleite - Grace Hoffman
Helmwige - Elsa Cavelti
Siegrune - Alice Oelke
Grimgerde - Elisabeth Schärtl
Roßweiße - Hanna Ludwig
This was a guest performance by the Bayreuth Festival company at the Osaka International Festival. The production was by Wieland Wagner, who died six months before the performance took place.
===============
I have synchronised the existing video of this performance with a new stereo audio source.
===============
Edmund C. Wilkes in "Opera" magazine wrote:
"The idea of importing two complete Bayreuth productions directed by Wieland Wagner seemed almost too ambitious. But Michi Murayame, the director of the Osaka International Festival, is a lady of determination.
Having assured Wieland that his every wish would be adhered to, that no expense would be spared to remodel the stage, the proscenium, the orchestra pit, that all the necessary lighting would be brought from Germany, a raked stage and huge cyclorama installed, and every device exactly to specifications, she received his final assent to the production of "Tristan" and "Walküre", and the most recent Bayreuth productions of these operas were somewhat revised by the already ailing producer to fit the Osaka stage.
Each opera was given four performances. Before that, a crew of thirty German technicians spent two months in preparation "in situ" constructing the sets, reshaping the stage, lighting it and training the Japanese crew that worked with them. The NHK Orchestra, the oldest and most German-oriented of the major orchestras in Japan cancelled a month of concerts to rehearse in anticipation of the coming of Pierre Boulez's "Tristan" and Thomas Schippers's "Walküre"."
After reviewing Boulez's performance of "Tristan", he continued:
""Die Walküre" the next night saw Schippers in the pit. Rumour had it that he was unhappily on the short end of the rehearsal time, and certainly the orchestra played less perfectly for him than for Boulez. His tempos were rushed and the Farewell and Magic Fire music must have been the shortest on record. The first act, stunningly set, was magnificently sung by Jess Thomas, an utterly believable Volsung. Helga Dernesch was a glowing, ample-voiced Sieglinde, and Gerd Nienstedt a hulking Hun of a Hunding. The first act really took fire and was beautifully effected.
The Wotan of Theo Adam seemed a little young, a little two-dimensional. He has a fine bass-baritone but it lacks some of the warmth needed to make the god sympathetic. Anja Silja was an astonishingly slim Brünnhilde, seeming a brave little girl with a big bright voice that she managed well, but she too was a little cold and distant. Grace Hoffman's Fricka" was excellent in voice and as human as the role allows. A coterie of bigger sister-Valkyries was imported from various German and Austrian houses and shouted strongly, even if their appearance was none too glamorous."
===============
0:00:00 - Silence
0:00:32 - Prelude
0:01:59 - Scene 1: "Hojotoho! Hojotoho! Heiaha! Heiaha!"
0:08:32 - Scene 1: "Schützt mich und helft in höchster Not!"
0:11:28 - Scene 1: "Nicht sehre dich Sorge um mich"
0:17:30 - Scene 2: "Wo ist Brünnhild', wo die Verbrecherin?"
0:20:58 - Scene 2: "Hier bin ich Vater: gebiete die Strafe!"
0:29:08 - Scene 3: "War es so schmählich, was ich verbrach"
0:34:12 - Scene 3: "Nicht weise bin ich, doch wusst' ich das eine"
0:38:27 - Scene 3: "So tatest du, was so gern zu tun ich begehrt"
0:44:22 - Scene 3: "Du zeugtest ein edles Geschlecht"
0:49:32 - Scene 3: "Leb' wohl, du kühnes, herrliches Kind!"
0:54:23 - Scene 3: "Der Augen leuchtendes Paar"
1:01:20 - Scene 3: "Loge, hör'! Lausche hieher!"
===============
"Die Walküre" ("The Valkyrie") is an opera in three acts by Richard Wagner, with a German libretto by the composer. It is the second of the four works that form the cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung"). It was first performed at the Royal Court and National Theatre in Munich on 26th June, 1870.
(Recorded 11th April, 1967, Festival Hall, Osaka)
Siegmund - Jess Thomas
Hunding - Gerd Nienstedt
Wotan - Theo Adam
Sieglinde - Helga Dernesch
Brünnhilde - Anja Silja
Fricka - Grace Hoffman
Gerhilde - Lotte Rysanek
Ortlinde - Gertraud Hopf
Waltraute - Erika Schubert
Schwertleite - Grace Hoffman
Helmwige - Elsa Cavelti
Siegrune - Alice Oelke
Grimgerde - Elisabeth Schärtl
Roßweiße - Hanna Ludwig
This was a guest performance by the Bayreuth Festival company at the Osaka International Festival. The production was by Wieland Wagner, who died six months before the performance took place.
===============
I have synchronised the existing video of this performance with a new stereo audio source.
===============
Edmund C. Wilkes in "Opera" magazine wrote:
"The idea of importing two complete Bayreuth productions directed by Wieland Wagner seemed almost too ambitious. But Michi Murayame, the director of the Osaka International Festival, is a lady of determination.
Having assured Wieland that his every wish would be adhered to, that no expense would be spared to remodel the stage, the proscenium, the orchestra pit, that all the necessary lighting would be brought from Germany, a raked stage and huge cyclorama installed, and every device exactly to specifications, she received his final assent to the production of "Tristan" and "Walküre", and the most recent Bayreuth productions of these operas were somewhat revised by the already ailing producer to fit the Osaka stage.
Each opera was given four performances. Before that, a crew of thirty German technicians spent two months in preparation "in situ" constructing the sets, reshaping the stage, lighting it and training the Japanese crew that worked with them. The NHK Orchestra, the oldest and most German-oriented of the major orchestras in Japan cancelled a month of concerts to rehearse in anticipation of the coming of Pierre Boulez's "Tristan" and Thomas Schippers's "Walküre"."
After reviewing Boulez's performance of "Tristan", he continued:
""Die Walküre" the next night saw Schippers in the pit. Rumour had it that he was unhappily on the short end of the rehearsal time, and certainly the orchestra played less perfectly for him than for Boulez. His tempos were rushed and the Farewell and Magic Fire music must have been the shortest on record. The first act, stunningly set, was magnificently sung by Jess Thomas, an utterly believable Volsung. Helga Dernesch was a glowing, ample-voiced Sieglinde, and Gerd Nienstedt a hulking Hun of a Hunding. The first act really took fire and was beautifully effected.
The Wotan of Theo Adam seemed a little young, a little two-dimensional. He has a fine bass-baritone but it lacks some of the warmth needed to make the god sympathetic. Anja Silja was an astonishingly slim Brünnhilde, seeming a brave little girl with a big bright voice that she managed well, but she too was a little cold and distant. Grace Hoffman's Fricka" was excellent in voice and as human as the role allows. A coterie of bigger sister-Valkyries was imported from various German and Austrian houses and shouted strongly, even if their appearance was none too glamorous."
===============
0:00:00 - Silence
0:00:32 - Prelude
0:01:59 - Scene 1: "Hojotoho! Hojotoho! Heiaha! Heiaha!"
0:08:32 - Scene 1: "Schützt mich und helft in höchster Not!"
0:11:28 - Scene 1: "Nicht sehre dich Sorge um mich"
0:17:30 - Scene 2: "Wo ist Brünnhild', wo die Verbrecherin?"
0:20:58 - Scene 2: "Hier bin ich Vater: gebiete die Strafe!"
0:29:08 - Scene 3: "War es so schmählich, was ich verbrach"
0:34:12 - Scene 3: "Nicht weise bin ich, doch wusst' ich das eine"
0:38:27 - Scene 3: "So tatest du, was so gern zu tun ich begehrt"
0:44:22 - Scene 3: "Du zeugtest ein edles Geschlecht"
0:49:32 - Scene 3: "Leb' wohl, du kühnes, herrliches Kind!"
0:54:23 - Scene 3: "Der Augen leuchtendes Paar"
1:01:20 - Scene 3: "Loge, hör'! Lausche hieher!"
===============
"Die Walküre" ("The Valkyrie") is an opera in three acts by Richard Wagner, with a German libretto by the composer. It is the second of the four works that form the cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung"). It was first performed at the Royal Court and National Theatre in Munich on 26th June, 1870.
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Відео
Wagner: Die Walküre: Act 2; Schippers; Osaka (1967) [Stereo]
Переглядів 394Місяць тому
Thomas Schippers, NHK Symphony Orchestra (Recorded 11th April, 1967, Festival Hall, Osaka) Siegmund - Jess Thomas Hunding - Gerd Nienstedt Wotan - Theo Adam Sieglinde - Helga Dernesch Brünnhilde - Anja Silja Fricka - Grace Hoffman Gerhilde - Lotte Rysanek Ortlinde - Gertraud Hopf Waltraute - Erika Schubert Schwertleite - Grace Hoffman Helmwige - Elsa Cavelti Siegrune - Alice Oelke Grimgerde - E...
Wagner: Die Walküre: Act 1; Schippers; Osaka (1967) [Stereo]
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Wagner: Lohengrin: Act 3; Sawallisch; Munich (1978) Kollo, Ligendza, Randová, Roar [Improved Sound]
Переглядів 1 тис.7 місяців тому
Wolfgang Sawallisch, Bavarian State Orchestra (Recorded 28th July, 1978, National Theatre, Munich) King Heinrich - Karl Ridderbusch Lohengrin - René Kollo Elsa von Brabant - Catarina Ligendza Friedrich von Telramund - Leif Roar Ortrud - Eva Randová King's Herald - Wolfgang Brendel First Noble - Friedrich Lenz Second Noble - Hermann Sapell Third Noble - Hans Wilbrink Fourth Noble - Gerhard Auer ...
Wagner: Lohengrin: Act 2; Sawallisch; Munich (1978) Kollo, Ligendza, Randová, Roar [Improved Sound]
Переглядів 1,1 тис.7 місяців тому
Wolfgang Sawallisch, Bavarian State Orchestra (Recorded 28th July, 1978, National Theatre, Munich) King Heinrich - Karl Ridderbusch Lohengrin - René Kollo Elsa von Brabant - Catarina Ligendza Friedrich von Telramund - Leif Roar Ortrud - Eva Randová King's Herald - Wolfgang Brendel First Noble - Friedrich Lenz Second Noble - Hermann Sapell Third Noble - Hans Wilbrink Fourth Noble - Gerhard Auer ...
Wagner: Lohengrin: Act 1; Sawallisch; Munich (1978) Kollo, Ligendza, Randová, Roar [Improved Sound]
Переглядів 1,8 тис.7 місяців тому
Wolfgang Sawallisch, Bavarian State Orchestra (Recorded 28th July, 1978, National Theatre, Munich) King Heinrich - Karl Ridderbusch Lohengrin - René Kollo Elsa von Brabant - Catarina Ligendza Friedrich von Telramund - Leif Roar Ortrud - Eva Randová King's Herald - Wolfgang Brendel First Noble - Friedrich Lenz Second Noble - Hermann Sapell Third Noble - Hans Wilbrink Fourth Noble - Gerhard Auer ...
Ach war das eine Große ,sie ist mir so vertraut !
Why the Ouverture ( Vorspiel ) is missing , and the public welcome reaction for Karajan ???
the best Sarastro ever Ezio Pinza , the Caruso of the Basses , thanks for upload
Ich liebe diese Sängerin aber Maazel hetzt!
Kolo stinks.
A treasure. Thank you so much!
Eva Randova is a first class opera singer.I saw and heard her as Ortrud in Stockholm. The swedish soprano Catharina Ligenza was Elsa.Ligenza had the beautiful nordic sporano voice.Ligenzas Mother and father were singers at the Royal Opera in Stockholm.
E P I C !
Tremendous performance, thanks for posting.
Der beste Lohengrin aller Zeiten.
Keilberths Meistersinger stank even without Thomas
as this seems to be the only complete wieland wagner production on film ( a major failure of the german media, remitted by the japanese). it would be usefull also to restore the colour. ww was a painter and a magical colour dramatist - not this grey in grey producer...
There's a bit of sound missing from the beginning.
Nice Production...Very Ingmar Bergman-esque
Magic scenes ❤
this performance is not helped by an unlyrical and unheroic siegmund. his desinterested wooden voice also ruined gruemmers lohengrin, keilberths meistersinger and karajan siegfried (american marketing prefers legs to voice)
And Anja Silja is still alive! I really liked the scene I performance.
I saw her in Brooklyn on the Makropulos Case in 2001. The pitch a little awkward, but the stage presence, acting and the laser-like focus of the voice kept us riveted. Truly a legend.
I would do anything to see a wieland wagner Walkure in color.
Vielen Dank für die Veröffentlichung dieses zeithistorischen Dokuments. Ein großartiger junger Theo Adam und auch Anja Silja hat ihre Qualitäten. Heute eine vollständige Inszenierung von Wieland Wagner zu sehen, ist ein großes Geschenk. Mich beeindruckt, dass sich die Sänger von so manchen Patzern im Orchestergraben nicht aus der Ruhe bringen lassen. Großartig! Vielen, vielen Dank!!
birgitmaimer, danke für Kommentar.
birgitmaimer, aber diese Art Brünhilde bzw Isolde gibt es doch heute reichlich, das ist ja das Resultat dieser gesangstechnischen Fehlentwicklung ......jetzt habe ich 2x geschrieben und beide Male ist es weg , wie kommt das so oft auf YT , dass Kommentare verschwinden
Hard to believe that the recording quality in 1981 was so poor.
Anja Silja als Brünhilde .....miscast ...in these times we have the beginning of these typical miscasts today to destroy the opera.....
Much better for Freia, which she was also singing around that time.
@@kennethwayne6857 very disappointing soprano....my first Tannhäuser, it was 1962 Bayreuth Windgassen, Bumbry, Wächter, Sawallisch conductor....and Mrs Silja as Elisabeth. Very disappointing Mrs Silja . Not the other cast, but she was it. It is long time ago, 45 years , I have still the vinyl ....when we had no YT , only vinyl and radio....but I am very glad & happy to have YT
In these times begins this "modern" casting for the opera, i e too small voices for the huge parts, one of the reasons for this "maldevelopment": a wrong opinion about the needs for a voice to sing opera and a wrong opinion about the challenges of certain parts , specially Wagner
@@meisterwue Karajan must take some of the blame for that.
@@kennethwayne6857 yes, You are right...absolutely. Helga Dernesch or Hildegard Behrens : no real sopranos for the heavy weight , f ex Isolde & Brünhilde
Wow. Hard to realize this was going on in 1942.
Best English translation of flute that i've heard so far.
Immenso ❤️🙏
Roberta Knie was my voice teacher. Jon Vickers told her she was the last Wagnerian trained in the old way (graduating from Handel/Mozart to Bellini to early Puccini to late Puccini to early Verdi to late Verdi to early Wagner to late Wagner to Strauss. Nowadays they tend to dump singers in to the deep end, and their voices don't stay flexible and supple.
The Nazis didn’t understand this work at all. If Wagner had lived long enough to see or hear Hitler, he would have laughed at him, for an idiot-clown.
Waltraud Meier must be the best singer for Wagner's operas, although she has retired.
"Piana" singt das Quintett schier auf einem Atem !!!!
Wow - the pacing of the final duet - tender waves of tempi and dynamics. Over and over, Karajan makes sweeping statements, from tender to exultant to fearful to passion. He really lets Varnay linger over the softer passages which gives her a more feminine profile than is usual. God the tempi are just straight out of heaven.
Poise, Elegance. Brilliant performance
Do you have any of these? - 5 March 1932 Manon (Hasselmans; Moore, Gigli, De Luca, Rothier; ca 9 mins) - 3 December 1932 Elektra (Bodanzky; Kappel, Ljungberg, Branzell, Schorr, Laubenthal; ca 8 mins) - 27 January 1933 Rheingold (Bodanzky; Fleischer, Bampton, Doe; ca 1 min 40s) - 19 January 1935 La forza del destino (Bellezza; Rethberg, Martinelli, Pinza; ca 30 mins)
What this great maestro said is now more true than ever before. The modern opera world has unfortunately fallen to the service of these small voices that do better in the studio and need amplification on the stage. Anyone who has worked in a professional theatre knows this. There are no true dramatic tenors singing today, no true dramatic sopranos, no true Verdi baritones, no true basso profondi etc... because true dramatic voices take a longer time to develop than smaller lyrical ones, so the true dramatic voices are never given a chance because by the time that they're ready they're deemed "too old". So you have a modern opera world full of essentially light lyrical voices who are artificially darkened with modern sound technology both in the studio and on stage.
Best Osmin.
Do you have act 3 of this performance?
Die Walkuere is the most beautiful part of the tetralogy, from beginning to the end....so full of human emotions, beautiful music and here beautiful voices too. Never heard a concert version but it is also good..
Did I hear a boo at the end?
Wonderful! Outstanding! Viele Grüße from the Münsterland in Northwestern Germany, Bernd.
I’m Half Swedish I Have A Family In Sweden 🇸🇪
Thank you so much for this precious clip! Do you know where one can watch or purchase the video of the entire performance?
Did you improve the audio? This sound quality is so much better than my CDs.
@@eschscholzia Wow impressive! I have uploaded the March 3 as well as January 6 excerpts from the following year.
Tolles Ton- und Zeitdokument, auch wenn ich an ein paar Stellen den Eindruck habe, dass da etwas unsensibel geschnitten wurde.
Sublime
Bravo, Kollo!
Brava, Vejzovic!
It's a song about keeping silent. Brilliant.
Musique sublime !!!!
Many thanks, it is a precious video!
The sensational Prima Donna Assoluta. There will never be another voice to match Madams.
What a gift. I'm addicted to the Karajan /Berliner sound. Totally!
Nice. If only I could actually see something.