Wagner - Tannhäuser Overture (Roland Böer, DSO Berlin)
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- Опубліковано 28 вер 2024
- Roland Böer conducts the Deutsches Symphonie-Orchester Berlin.
Richard Wagner (1813-1883)
Overture to the opera "Tannhäuser und der Sängerkrieg auf Wartburg“ ('Tannhäuser and the Minnesängers' Contest at Wartburg’, 1845)
Recorded on August 29, 2022 at the Konzerthaus Berlin.
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💜I like the most from when I was a child to date of this masterpiece
Tannhäuser (Ouvertüre) is one of Richard Wagner's first great masterpieces. This opera tells the story of Tannhäuser, a man in search of identity, divided between the sensual and the spiritual, profane love and sacred love, but also that of an artist seeking recognition. From the Overture, two main themes oppose each other, the first towards divine, pure, celestial love, embodied by Elisabeth, and sensual, pagan, earthly pleasure, embodied by Venus which will become in the rest of the opera the Choir of pilgrims. This duality is represented with incomparable ability in the writing. The Overture therefore summarizes the thought of the drama with two songs, the religious song and the voluptuous song which are here posed as two terms, and which, in the finale, find their equation. A true chorale, it is first solemnly presented by two clarinets, two horns and two bassoons. The theme of Repentance follows, more lyrical but introspective. He leads to a crescendo reinforced by the successive appearance of repetitive rhythmic elements with triplets, first in the strings then in the woodwinds, punctuating the reprise of the Pilgrims' Choir with brilliant descending movements, sixteenth notes played by the violins. Wagner characterizes the duality of his personage by melodic lines freed from all pre-established rules, always halfway between the recitative and the air. When the initial theme of the pilgrims reappears, it is with power and brilliance, played by two trombones and a tuba supported by intense timpani rolls. Richard Wagner draws in the richness of the symphony orchestra, a dramatic power which immerses us in a few moments in this romantic opera. No words can describe the immense beauty and great richness of this music. *Lucien*
Perfecto!
excellent balance, excellent timing: bravi tutti!!! I love the intensity, the built up tension and the confident ending: my compliments to all, simply a fantastic orchestra, a fantastic interpretation of a fantastic masterpiece.
This is easily my favorite recording of this piece. But if I must be honest, the camera man or woman is absolutely irritating. There are times when they're showing the ceiling when they should be showing the musicians.
hello from MARTIN EDEN
Cette interprétation manque de vitalité, et d'énergie ! trop "soporifique" !
I love Wagner's music since the age of 18....now I'm 8o, still enjoying immensely .Thanks.
He as a bit crazy, had a lot of issues but his music ....HIS MUSIC IS WOW!!! He loved putting his poetry to music.
I love this overture. So much that when is almost ending I put it from the beggining right before it finished cause I don't want it to end. This is a piece that the strings section gives its most of it, specially the first violins. Every time I watch an orchestra playing it you could tell the bows are barely in synchrony at the 10:30 minutes in this rendition. Violins are struggling. I guess Wagner wanted that effect: The feeling of struggle across the main theme.
😅
The struggle you hear is the 9/8 meter, it's unusual in common music and you feel a very different rhythm 9 notes to a bar/phrase
The Overture is a summary of the opera : first, an « andante maestoso » exposition of the melody of the pilgrims' choir in a crescendo, which then gradually fades away. Without transition, an « allegro » exposes the leitmotif of Venusberg. Then, more and more theatrically, resounds the leitmotiv of Tannhäuser's impassioned chant, accompanied by the music expressing the threats of the knights, to reach its climax in an « molto vivace ». The Overture ends with the theme of the pilgrims' chorus, which majestically takes up an « assai stretto » in crescendo to lead to a brief and masterful coda « più Stretto ». Note: The « leitmotif » is a masterful invention of Wagner which is a musical phrasing, a formula that recurs several times in a musical work. The German master studied Beethoven extensively. *Lucien*
I'm afraid that was way to fast and rushed for my liking, sacrilege in fact.
12:18
As Machault rules supreme for 14th century music, Desprez for 15th and Bach for 18th, Wagner's music simply knows no match among other romantic or subsequent music. A work of pure genius...
For some reason I like this, I'm not a fan of Wagner, but I thiñk the love song from Tristan and Isolde is the most beautiful music ever written.
Великолепно! Так играть (и записывать) Вагнера могут только немцы.
Fantástica interpretación de esta Orquesta!
Bravo!!!!!
1:01
11:03 ТРЕТИЙ РАЗДЕЛ
¡Hermoso!