Wagner’s Tristan und Isolde is one of Bernstein’s finest opera recordings and still considered exemplary. Leonard Bernstein’s way of conducting this opera is unique and he makes orchestra and singers perform at their very best. The Symphonieorchester des Bayerischen Rundfunks was the only German orchestra with which Leonard Bernstein regularly collaborated for many years and it has numbered among the top ten orchestras in the world. A star cast of singers with Peter Hofmann and Hildegard Behrens in the title roles, completes this exceptional semi-staged production. Bernstein’s 1981 recording of Wagner’s Tristan und Isolde is still considered an outstanding interpretation and has set the bar until this day. When he heard this performance Karl Böhm said, “Bernstein has conducted Tristan und Isolde the way that Wagner intended it to be conducted”.
Lohengrin
This most anticipated premiere features Anna Netrebko and Piotr Beczala in their first ever Wagnerian roles as Elsa and Lohengrin under the baton of Christian Thielemann, doubtlessly today’s foremost conductor of this repertoire. Outstanding Wagnerians Evelyn Herlitzius and Tomasz Konieczny are starring as the opponents Ortrud and Friedrich von Telramund and Georg Zeppenfeld is Heinrich der Vogler at the prestigious Semperoper Dresden, with the Staatskapelle Dresden in the pit. The production with its psychologic depth, timeless setting and stunning costumes is staged after the original production by Christine Mielitz, the internationally acclaimed director, who is affiliated with the Semperoper since her beginnings alongside Harry Kupfer. “Netrebko and Beczala are Wagner Stars (New York Times)”; “Pure bliss! Never ending applause! (FAZ)”
Tannhäuser
“A real feast of music! Where to begin, where to end with praise for this Tannhäuser at the Berlin Staatsoper in the Schillertheater? It sounds the way one has always dreamt of it
but all too rarely heard it”, reported the Frankfurter Allgemeine Zeitung with considerable enthusiasm. This was due above all to Barenboim’s musical magic: “It is with nuance and fine balance that Richard Wagner’s music now rises from the orchestra pit” (FAZ), borne aloft by brilliant singers. Peter Seiffert in particular as Tannhäuser celebrates a true “triumph”, according to the Süddeutsche Zeitung. Staged by choreographer Sasha Waltz on a fantastic stage by Pia Maier Schriever with a circular tunnel of light in the manner
of Hieronymus Bosch, the Berlin Tannhäuser deserves to be described as “world-class” (Süddeutsche Zeitung).
Tannhäuser
This exciting and compelling modern-day adaptation of Richard Wagner’s fable of love and redemption features one of the great Wagner singers of our time in the lead role, Peter Seiffert. As a nimble, youthful-voiced Tannhäuser, he plays alongside Petra Maria Schnitzer as Elisabeth. As the goddess of love, Elisabeth’s counterpart Venus is portrayed by the stunning Béatrice Uria-Monzon. Displaying particular vigor and dynamism is Günther Groissböck as Hermann, here in the guise of an art dealer. Sebastian Weigle, the Liceu’s principal conductor, gives a performance that is ‘full of vitality and visibly inspired’, as the Spanish daily ABC wrote.
Parsifal
It was in Zurich that Richard Wagner, as he himself noted, obtained the inspiration for ‘Parsifal’ in 1857. And it was the Zurich Opera which, in 1913, was the first opera house outside of Bayreuth that was allowed to perform the work. On the occasion of the 150th anniversary of Wagner’s ‘stroke of genius’, we can once again experience ‘the purest Wagner bliss’, as the Neue Zürcher Zeitung put it, thanks to Hans Hollmann’s production and Bernard Haitink’s inspired conducting of the Zurich Opernorchester.
Lohengrin
With Jonas Kaufmann’s long-awaited role debut as Lohengrin and Anja Harteros as Elsa, Wagner’s epic of love and loss was not only the opening premiere of the Munich Opera Festival, but its uncontested highlight as well. Which is why the performance was followed not only by a longsold- out house, but also by tens of thousands of spectators at a live public viewing event in Munich and Vienna.
Tannhäuser
From the Bayerische Staatsoper Munich 1995 Recorded under studio conditions from the stage of the National Theatre in Munich, David Alden’s challenging production of Tannhäuser is a desolate ‘endgame’, far-removed from traditional, representational stagings. One of the most iconoclastic interpreters of classical opera, Alden stirs up the visionary, erotic and archetypal elements in Wagner’s work. The Bavarian State Opera fields a top-flight cast of Wagnerian singers includes René Kollo in the title role, Waltraud Meier, Jan-Hendrik Rootering, Claes-Håkon Ahnsjö, Bernd Weikl and Nadine Secunde. Zubin Mehta conducts a musically outstanding performance. (Sung in German)
Introduction to Wagner, Der Ring des Nibelungen
Die Meistersinger von Nürnberg
Wolfgang Wagner’s Bayreuth Festival production of “Die Meistersinger von Nürnberg” was recorded in HDTV 1250 and Betacam Digital 16:9. A boisterous, colorful interpretation, this “Meistersinger” follows the original stage instructions and respects the historical framework of the piece. Beneath a stylized globe symbolizing the universal validity of the artist’s search for his role in society, the action unfolds in an intricately choreographed interplay of solo scenes and ensembles. Daniel Barenboim’s musical direction was unanimously acclaimed by the press. Le Monde, for example, wrote that he “fully possesses its spirit: poetic, fluid, very slender, his instrumental discourse is irresistible”. Among the vocal soloists, Peter Seiffert (as Walther von Stolzing) and Robert Holl (as Hans Sachs) have been consistently singled out for their superb interpretations in the past years. Emily Magee confers a subtle, youthful grace upon the coveted young daughter of the goldsmith Veit Pogner, sung by Matthias Hölle. The cast also includes Endrik Wottrich as David, Birgitta Svendén as Magdalene, Andreas Schmidt as Beckmesser, Bernhard Schneider, Roman Trekel, Hans-Joachim Ketelsen, Torsten Kerl, Peter Maus, Helmut Pampuch, Sándor Sólyom-Nagy, Alfred Reiter, Jyrki Korhonen as the Mastersingers and Kwangchul Youn as the night watchman. Prepared by Norbert Balatsch, the chorus of the Bayreuth Festival once again masters the exceptionally demanding choral part of this opera, which reaches a climax of intricacy at the end of the second act and culminates in the grand finale of Act III.
Tristan und Isolde
This production of Wagner’s “Tristan und Isolde” was premiered at the 1981 Bayreuth Festival and recorded in its third year on the Bayreuth stage, in 1983. With the celebrated Wagner tenor René Kollo as Tristan and the American-born soprano Johanna Meier as Isolde, supported by Matti Salminen (King Marke), Hermann Becht (Kurwenal) and Hanna Schwarz (Brangäne), the production was an uncontested feast of vocal mastery. This was underscored by the “wondrous gold of the score” that “flowed from the orchestra pit in a luminous symphonic flow.” (Süddeutsche Zeitung) Responsible for the inspired and transparent musical direction is Daniel Barenboim, whose sensitive treatment of the orchestra provides the ideal counterpoint to the interpreters on the stage. In his interpretation of “Tristan und Isolde” – his one and only production for the Bayreuth Festival – the late Jean-Pierre Ponnelle refused to follow the fashionable trend of seeking to update a work at all costs. His interest lay chiefly in the psychological treatment of the action, whereby the sublimated love of Tristan and Isolde becomes a nocturne of emotional and psychological depth. His alteration of the end, in which the events of the third act are depicted as a dream sequence experienced by the dying Tristan, provoked considerable criticism in the first year, but was rendered more clearly understandable by Ponnelle in the following years. Ponnelle adapted his production for its audiovisual recording, ensuring that all the magical effects visible in the theater are as stunning and evocative on the screen.