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| Wagner: The Great Operas from the Bayreuth Festival | 
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| Creators: Richard Wagner, Karl Bohm, James Levine, Wolfgang Sawallisch, Silvio Varviso, Birgit Nilsson, Leonie Rysanek, Anja Silja, Waltraud Meier, Astrid Varnay
Label: Decca
Category: Music
List Price: $69.98
Buy New: $62.64
You Save: $7.34 (10%)
New (9) Used (2) from $62.64
Avg. Customer Rating:  8 reviews
Sales Rank: 11652
Format: Box Set
Media: Audio CD
Discs: 33
Shipping Weight (lbs): 1.7
Dimensions (in): 5.2 x 5 x 2.6
MPN: 001123902
UPC: 028947802792
EAN: 0028947802792
ASIN: B00159679S
Release Date: June 17, 2008
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Overture | | • | Act 1. No. 1. Introduktion. Hojoje! Hojoje! | | • | Act 1. No. 1. Introduktion. Kein Zweifel! Sieben Meilen fort | | • | Act 1. No. 1. Introduktion. Mit Gewitter und Sturm aus fernem Meer | | • | Act 1. No. 2. Rezitativ und Arie. Die Frist ist um | | • | Act 1. No. 2. Rezitativ und Arie. Dich frage ich, gepries'ner Engel Gottes | | • | Act 1. No. 2. Rezitativ und Arie. Nur eine Hoffnung soll mir bleiben | | • | Act 1. No. 3. Szene, Duett und Chor. He! Holla! Steuermann! | | • | Act 1. No. 3. Szene, Duett und Chor. Durch Sturm und boesen Wind werschlagen | | • | Act 1. No. 3. Szene, Duett und Chor. Wie? Hoer' ich recht? Meine Tochter sein Weib? | | • | Act 1. No. 3. Szene, Duett und Chor. Wenn aus der Qualen Schreckgewalten | | • | Act 1. No. 3. Szene, Duett und Chor. Suedwind! Suedwind! | | • | Act 1. No. 3. Szene, Duett und Chor. Mit Gewitter und Sturm aus fernem Meer | | • | Act 2. No. 4. Szene, Lied und Ballade. Summ und brumm, du gutes Raedchen | | • | Act 2. No. 4. Szene, Lied und Ballade. Da seht ihr's! | | • | Act 2. No. 4. Szene, Lied und Ballade. Johohoe! Traft ihr das Schiff im Meere an |
Disc 2
| • | Act 2. No. 4. Szene, Lied und Ballade. Ach, wo weilt sie | | • | Act 2. No. 4. Szene, Lied und Ballade. Vom Felsen sah ein Schiff ich nahn | | • | Act 2. No. 5. Duett. Bleib, Senta! Bleib nur einen Augenblick! | | • | Act 2. No. 5. Duett. Mein Herz, voll Treue bis zum Sterben | | • | Act 2. No. 5. Duett. Auf hohem Felsen lag ich traeumend | | • | Act 2. No. 6. Finale. Mein Kind, du siehst mich auf der Schwelle | | • | Act 2. No. 6. Finale. Moegst du, mein Kind, den fremden Mann | | • | Act 2. No. 6. Finale. Wie aus der Ferne laengst vergang'ner Zeiten | | • | Act 2. No. 6. Finale. Wirst du des Vaters Wahl nicht schelten? | | • | Act 2. No. 6. Finale. Verzeiht! Mein Volk haelt draussen sich nicht mehr | | • | Act 3. No. 7. Szene und Chor. Steuermann, lass die Wacht! | | • | Act 3. No. 7. Szene und Chor. Mein! Seht doch an! | | • | Act 3. No. 8. Finale. Was musst' ich hoeren | | • | Act 3. No. 8. Finale. Willst jenes Tags du nicht dich mehr entsinnen | | • | Act 3. No. 8. Finale. Verloren! Ach, verloren! Ewig velornes Heil! | | • | Act 3. No. 8. Finale. Erfahre das Geschick |
Disc 3
| • | Overture / Act 1. Naht euch dem Strande | | • | Act 1. Geliebter, sag, wo weilt dein Sinn? | | • | Act 1. Dir toene Lob! Die Wunder sei'n gepriesen | | • | Act 1. Geliebter, komm! Sieh dort die Grotte | | • | Act 1. Stets soll nur dir mein Lied ertoenen | | • | Act 1. Zieh hin, Wahnsinniger, zieh hin! | | • | Act 1. Frau Holda kam aus dem Berg henvor | | • | Act 1. Zu dir wal ich, mein Jesus Christ | | • | Act 1. Wer ist der dort in bruenstigem Gebete? | | • | Act 1. Als du in kuehnem Sange uns bestrittest |
Disc 4
| • | Act 2. Dich, teure Halle, gruess ich wieder | | • | Act 2. Dort ist sie; nahe dich ihr ungestoert!... Der Saenger klugen Weisen lauscht' ich sonst | | • | Act 2. Den Gott der Liebe sollst du preisen | | • | Act 2. Dich treff ich hier, in dieser Halle | | • | Act 2. Freudig begruessen wir die edle Halle | | • | Act 2. Gar viel und schoen | | • | Act 2. Blick ich umher in diesem edlen Kreise | | • | Act 2. Auch ich darf mich so gluecklich nennen / Den Bronnen, den uns Wolfram nannte | | • | Act 2. O Walther, der du also sangest / Heraus zum Kampfe mit uns allen! / O Himmel, lass dich jetzt | | • | Act 2. Dir, Goettin der Liebe, soll mein Lied ertoenen! | | • | Act 2. Was hoer ich? | | • | Act 2. Der Ungluecksel'ge, den gefangen | | • | Act 2. Weh! Weh!, mir Ungluecksel'gem! | | • | Act 2. Ein furchtbares Verbrechen ward begangen | | • | Act 2. Versammelt sind aus meinen Landen |
Disc 5
| • | Act 3. Prelude | | • | Act 3. Wohl wusst' ich hier im Gebet zu finden | | • | Act 3. Beglueckt darf nun dich, o Heimat, ich schauen | | • | Act 3. Allmaecht'ge Jungfrau, hoer mein Flehen! | | • | Act 3. Wie Todesahnung Daemmrung deckt die Lande | | • | Act 3. O du, mein holder Abendstern | | • | Act 3. Ich hoerte Harfenschlag | | • | Act 3. Inbrunst im Herzen | | • | Act 3. Nach Rom gelangt' ich so | | • | Act 3. Da sank ich in Vernichtung dumpf damieder / (The Rome Narration) / Halt ein! Unsel'ger | | • | Act 3. Wilkommen, ungetreuer Mann! | | • | Act 3. Heil! Heil! Der Gnade Wunder Heil! |
Disc 6
| • | Prelude | | • | Act 1. Hoert! Grafen, Edle, Freie von Brabant | | • | Act 1. Dank, Koenig, dir, dasss du zu richten kamst! | | • | Act 1. Seht hin! Sie naht, die hart Beklagte! | | • | Act 1. Einsam in trueben Tagen | | • | Act 1. Mich irret nicht ihr traeumerischer Mut | | • | Act 1. Wer hier im Gotteskampf zu streiten kam | | • | Act 1. Nun sei bedankt, mein lieber Schwan! | | • | Act 1. Zum Kampf fuer eine Magd zu stehn | | • | Act 1. Nun hoert! Euch Volk und Edlen mach' ich kund | | • | Act 1. Nun hoeret mich und achtet wohl | | • | Act 1. Durch Gottes Sieg ist jetzt dein Leben mein |
Disc 7
| • | Act 2. Introduction | | • | Act 2. Erhebe dich, Genossin meiner Schmach! | | • | Act 2. Du wilde Seherin | | • | Act 2. Euch Lueften, die mein Klagen | | • | Act 2. Elsa! - Wer ruft? | | • | Act 2. Entweihte Goetter! Helft jetzt meiner Rache! | | • | Act 2. Wie kann ich solche Huld dir lohnen | | • | Act 2. In Fruehn versammelt uns der Ruf | | • | Act 2. Des Koenigs Wort und Will' tu ich euch kund | | • | Act 2. Gesegnet soll sie schreiten | | • | Act 2. Zurueck, Elsa! Nicht laenger will ich dulden | | • | Act 2. O Koenig! Trugbetoerte Fuersten! Haltet ein! | | • | Act 2. Welch ein Geheimnis muss der Held bewahren? | | • | Act 2. Mein Held, entgegne kuehn dem Ungetreuen |
Disc 8
| • | Act 3. Prelude | | • | Act 3. Treulich gefuehrt ziehet dahin | | • | Act 3. Das suesse Lied verhallt | | • | Act 3. Fuehl' ich zu dir so suess mein Herz entbrennen | | • | Act 3. Atmest du nicht mit mir die suessen Duefte? | | • | Act 3. Hoechstes Vertraun hast du mir schon zu danken | | • | Act 3. Weh, nun ist all unser Glueck dahin! | | • | Act 3. Heil Koenig Heinrich! | | • | Act 3. Macht Platz dem Helden von Brabant! | | • | Act 3. In fernem Land, unnahbar euren Schritten | | • | Act 3. Mein lieber Schwan! |
Disc 9
| • | Act 1. Vorspiel | | • | Act 1. Scene 1. Westwaerts schweift der Blick | | • | Act 1. Scene 2. Frisch weht der Wind der Heimat zu | | • | Act 1. Scene 3. Weh, ach wehe! Dies zu dulden! | | • | Act 1. Scene 4. Auf! Auf! Ihr Frauen! Frisch und froh! | | • | Act 1. Scene 4. Herr Tristan trete nah! / Scene 5. Begehrt, Herrin, was Ihr wuenscht | | • | Act 1. Scene 5. Tristan! - Isolde! - Treuloser Holder! |
Disc 10
| • | Act 2. Vorspiel | | • | Act 2. Scene 1. Hoerst du sie noch? | | • | Act 2. Scene 2. Isolde! Geliebte! - Tristan! Geliebter! | | • | Act 2. Scene 2. O sink hernieder, Nacht der Liebe | | • | Act 2. Scene 2. Einsam waschend in der Nacht! | | • | Act 2. Scene 2. Lausch, Geliebter! - Lass mich sterben! | | • | Act 2. Scene 2. Doch unsre Liebe, heisst sie nicht Tristan und - Isolde? | | • | Act 2. Scene 2. So starben wir, um ungetrennt | | • | Act 2. Scene 3. Rette dich, Tristan! | | • | Act 2. Scene 3. Tatest du's wirklich? Waehnst du das? | | • | Act 2. Scene 3. O Koenig, das kann ich dir nicht sagen |
Disc 11
| • | Act 3. Scene 1. Vorspiel | | • | Act 3. Scene 1. Ein Hirtenreigen | | • | Act 3. Scene 1. Kurwenal! He! Sag, Kurwenal! | | • | Act 3. Scene 1. Hei nun! Wie du kamst? | | • | Act 3. Scene 1. Noch losch das Licht nicht aus | | • | Act 3. Scene 1. Noch ist kein Schiff zu sehn! | | • | Act 3. Scene 1. Bist du nun tot? Lebst du noch? | | • | Act 3. Scene 2. O diese Sonne! Ha, dieser Tag! | | • | Act 3. Scene 2. Ha! Ich bin's, suessester Freund! | | • | Act 3. Scene 3. Kurwenal! Hoer! Ein zweites Schiff | | • | Act 3. Scene 3. Mild und leise wie er laechelt |
Disc 12
| • | Prelude | | • | Act 1. Da zu dir der Heiland kam | | • | Act 1. Verweilt! - Ein Wort | | • | Act 1. David! Was stehst? | | • | Act 1. Mein Herr! Der Singer Meisterschlag | | • | Act 1. Der Meister Toen und Weissn | | • | Act 1. Seid meiner Treue wohl versehen | | • | Act 1. Zu einer Freiung | | • | Act 1. Nicht doch, ihr Meister | | • | Act 1. Verzeiht, vielleicht schon ginget ihr zu weit | | • | Act 1. Dacht ich mir's doch! | | • | Act 1. Am stillen Herd | | • | Act 1. Nun, Meister! Wenn's gefaelt | | • | Act 1. Was Euch zum Liede Richt und Schnur |
Disc 13
| • | Act 1. Fuer dich, Geliebte, sei's getan - Fanget an! | | • | Act 1. Halt, Meister! Nicht so geseilt! | | • | Act 2. Johannistag! Johannistag! | | • | Act 2. Lass sehn, ob Meister Sachs zu Haus? | | • | Act 2. Was duftet doch der Flieder | | • | Act 2. Gut'n Abend, Meister! | | • | Act 2. Das dacht ich wohl | | • | Act 2. Da ist er! | | • | Act 2. Geliebter, spare den Zorn | | • | Act 2. Ueble Dinge, die ich da merk | | • | Act 2. Jerum! Jerum! | | • | Act 2. Den Tag seh' ich erscheinen | | • | Act 2. Mit den Schuhen ward ich fertig schier |
Disc 14
| • | Act 3. Prelude | | • | Act 3. Gleich, Meister! Hier! | | • | Act 3. Wahn! Wahn! Ueberall Wahn! | | • | Act 3. Gruess Gott, mein Junker | | • | Act 3. Morgenlich leuchtend | | • | Act 3. Ein Werbelied! Von Sachs! | | • | Act 3. Das Gedicht? Hier liess ich's | | • | Act 3. Sieh, Evchen! Dacht ich's doch | | • | Act 3. Hat man mit dem Schuhwerk | | • | Act 3. Mein Kind, von Tristan und Isolde |
Disc 15
| • | Act 3. Die 'selige Morgentraum-Deutweise' | | • | Act 3. Selig, wie die Sonne | | • | Act 3. Sankt Krispin, lobet ihn! | | • | Act 3. Ihr tanzt | | • | Act 3. Wacht auf! Es nahet gen den Tag | | • | Act 3. Euch macht ihr's leicht | | • | Act 3. Morgen ich leuchte | | • | Act 3. Morgenlich leuchtend | | • | Act 3. Verachtet mir die Meister nicht |
Disc 16
| • | Prelude | | • | Scene 1. Weia! Waga! Woge, du Welle! | | • | Scene 1. Gastig glatter glitschriger Glimmer! | | • | Scene 1. Wallala! Lalaleia! Leialalei! | | • | Scene 1. Lugt, Schwestern! Die Weckerin lacht in den Grund | | • | Scene 1. Der Welt Erbe gewaenn' ich zu eigen durch dich | | • | Scene 1. Orchesterzwischenspiel | | • | Scene 2. Wotan! Gemahl! Erwache! | | • | Scene 2. Nur Wonne schafft dir, was mich erschreckt | | • | Scene 2. Sanft schloss Schlaf dein Aug | | • | Scene 2. Zu mir, Freia! | | • | Scene 2. Endlich Loge! | | • | Scene 2. Immer ist Undank Loges Lohn | | • | Scene 2. Taugte wohl des goldnen Tandes | | • | Scene 2. Hoer', Wotan, der Harrenden Wort! | | • | Scene 2. Jetzt fand ich's: Hoert, was euch fehlt | | • | Scene 2. Orchesterzwischenspiel: Abstieg nach Nibelheim | | • | Scene 3. Hehe! Hehe! hieher! hieher! |
Disc 17
| • | Scene 3. Wer haelfe mir? | | • | Scene 3. Mit eurem Gefrage | | • | Scene 3. Was wollt ihr hier? | | • | Scene 3. Habt acht | | • | Scene 3. Riesen-Wurm winde sich ringeld | | • | Scene 3. Orchesterzwischenspiel: Aufstieg aus Nibelheim | | • | Scene 4. Da Vetter, sitze du fest! | | • | Scene 4. Wohlan, die Nibelungen rief ich mir nah | | • | Scene 4. Zu deiner Loesung musst du ihn lassen | | • | Scene 4. Bin ich nun frei? (Alberichs Fluch) | | • | Scene 4. Lauschtest du seinem Liebesgruss? | | • | Scene 4. Halt! Nicht sie beruehrt! | | • | Scene 4. Nicht so leicht und locker gefuegt | | • | Scene 4. Freia, die schoene, schau' ich nicht mehr | | • | Scene 4. Weiche, Wotan, weiche! | | • | Scene 4. Hoert, ihr Riesen! Zurueck und harret | | • | Scene 4. Furchtbar nun erfind' ich des Fluches Kraft | | • | Scene 4. Schwueles Geduenst schwebt in der Luft | | • | Scene 4. Zur Burg fuehrt die Bruecke | | • | Scene 4. Rheingold! Rheingold! |
Disc 18
| • | Act 1. Vorspiel | | • | Act 1. Scene 1. Wes Herd dies lauch sei, hier muss ich rasten | | • | Act 1. Scene 1. Kuehlende Labung gab mir der Quell | | • | Act 1. Scene 2. Mued am Herd fand ich den Mann | | • | Act 1. Scene 2. Friedmund darf ich nicht heissen | | • | Act 1. Scene 2. Aus dem Wald trieb es mich fort | | • | Act 1. Scene 2. Ich weiss ein wildes Geschlecht | | • | Act 1. Scene 3. Ein Schwert verhiess mir der Vater | | • | Act 1. Scene 3. Der Maenner Sippe sass hier im Saal | | • | Act 1. Scene 3. Winterstuerme wichen dem Wonnemond - Du bist der Lenz | | • | Act 1. Scene 3. Wehwalt heisst du fuerwahr? - Siegmund heiss ich |
Disc 19
| • | Act 2. Vorspiel / Scene 1. Nun zaeume dein Ross - Hojotoho | | • | Act 2. Scene 1. Der alte Sturm, die alte Mueh'! | | • | Act 2. Scene 1. Heut hast du's erlebt - So ist es denn aus | | • | Act 2. Scene 1. Was verlangst du? - Dort kommt deine kuehne Maid | | • | Act 2. Scene 2. Schlimm, fuercht ich, schloss der Streit | | • | Act 2. Scene 2. Lass ich's verlauten - Was keinem in Worten ich kuende | | • | Act 2. Scene 2. Ein anders ist's: achte es wohl | | • | Act 2. Scene 2. So sah ich Siegvater nie / Scene 3. Raste nun hier; goenne dir Ruh | | • | Act 2. Scene 3. Hinweg! Hinweg! Flieh die Entweihte |
Disc 20
| • | Act 2. Scene 4. Siegmund, sieh auf mich - Hehr bist du | | • | Act 2. Scene 4. Du sahest der Walkuere sehrenden Blick | | • | Act 2. Scene 5. Zauberfest bezaehmt - Kehrte der Vater nun heim | | • | Act 3. Scene 1. Hojotoho! Heiaha! - Wart ihr Kuehnen zu zweit? | | • | Act 3. Scene 1. Schuetzt mich und helft mir in hoechster Not | | • | Act 3. Scene 1. Nicht sehre dich - Fort denn eile / Scene 2. Wo ist Bruennhild', wo die Verbrecherin |
Disc 21
| • | Act 3. Scene 2. Hier bin ich, Vater - Nicht straf' ich dich erst | | • | Act 3. Scene 3. War es so schmaehlich? - Nicht weise bin ich | | • | Act 3. Scene 3. Deinen leichten Sinn - Wohl taugte dir nicht | | • | Act 3. Scene 3. Du zeugtest ein edles Geschlecht - In festen Schlaf | | • | Act 3. Scene 3. Leb wohl, du kuehnes, herrliches Kind! | | • | Act 3. Scene 3. Loge, hoer! Lausche hieher! |
Disc 22
| • | Act 1. Vorspiel | | • | Act 1. Scene 1. Zwangvolle Plage! Mueh ohne Zweck! | | • | Act 1. Scene 1. Nun tobst du wieder wie toll | | • | Act 1. Scene 1. Vieles lehrtest du, Mime | | • | Act 1. Scene 1. Wo hast du nun, Mime, dein minninges Weibchen | | • | Act 1. Scene 1. So strab meine Mutter an mir? | | • | Act 1. Scene 1. Das gab mir deine Mutter | | • | Act 1. Scene 2. Heil dir, weiser Schmied! | | • | Act 1. Scene 2. Hier sitz' ich am Herd | | • | Act 1. Scene 2. Viel, Wanderer, weisst du mir | | • | Act 1. Scene 2. Was zu wissen dir frommt, solltest du fragen | | • | Act 1. Scene 2. Notung heisst ein neidliches Schwert |
Disc 23
| • | Act 1. Scene 3. Nach eitlen Fernen forschtest du | | • | Act 1. Scene 3. Verfluchtes Licht! Was flammt dort die Luft? | | • | Act 1. Scene 3. Fuehltest du nie im finstren Wald | | • | Act 1. Scene 3. Her mit den Stuecken, fort mit dem Stuemper! | | • | Act 1. Scene 3. Notung! Notung! Neidliches Schwert | | • | Act 1. Scene 3. Hoho! Hoho! Hohei! Hohei! | | • | Act 1. Scene 3. Den der Bruder schuf, den schimmernden Reif! | | • | Act 2. Vorspiel | | • | Act 2. Scene 1. In Wald und Nacht vor Neidhoehl' halt' ich Wacht | | • | Act 2. Scene 1. Durch Vertrages Treuerunen | | • | Act 2. Scene 1. Fafner! Fafner! Erwache Wurm | | • | Act 2. Scene 1. Ich lieg' und besitz', lasst mich schlafen! | | • | Act 2. Scene 2. Wir sind zur Stelle! Bleib hier stehn! | | • | Act 2. Scene 2. He, du Alter! Ist das alles | | • | Act 2. Scene 2. Dass der mein Vater nicht ist |
Disc 24
| • | Act 2. Scene 2. Aber, wie sah meine Mutter wohl aus? | | • | Act 2. Scene 2. Du holdes Voeglein! Dich hoert' ich noch nie | | • | Act 2. Scene 2. Es schweigt und lauscht | | • | Act 2. Scene 2. Siegfrieds Hornruf | | • | Act 2. Scene 2. Haha! da haette mein Lied mir was Liebes erblasen! | | • | Act 2. Scene 2. Da lieg, neidischer Kerl | | • | Act 2. Scene 2. Zur Kunde taugt kein Toter | | • | Act 2. Scene 3. Wohin schleichst du so eilig und schlau | | • | Act 2. Scene 3. Wilkommen, Siegfried! | | • | Act 2. Scene 3. Das sagt' ich doch nicht? | | • | Act 2. Scene 3. Neides Zoll zahlt Notung | | • | Act 2. Scene 3. Hei! Siegfried erschlug nun den schlimmen Zwerg! | | • | Act 3. Vorspiel | | • | Act 3. Scene 1. Wache, Wala! Wala! Erwach! | | • | Act 3. Scene 1. Stark ruft das Lied | | • | Act 3. Scene 1. Dir Unweisen ruf' ich ins Ohr | | • | Act 3. Scene 2. Dort seh' ich Siegfried nahn |
Disc 25
| • | Act 3. Scene 2. Mein Voeglein schwebte mir fort! | | • | Act 3. Scene 2. Kenntest du mich, kuehner Spross | | • | Act 3. Scene 2. Orchesterzwischenspiel | | • | Act 3. Scene 3. Einleitung | | • | Act 3. Scene 3. Selige Oede auf sonniger Hoeh'! | | • | Act 3. Scene 3. Das ist kein Mann | | • | Act 3. Scene 3. Heil dir, Sonne! Heil dir, Licht | | • | Act 3. Scene 3. O Siegfried! Siegfried! Seliger Held! | | • | Act 3. Scene 3. Dort seh'ich Grane, mein selig Ross | | • | Act 3. Scene 3. Ewig war ich, ewig bin ich |
Disc 26
| • | Prologue. Welch Licht leuchtet dort? | | • | Prologue. Wisset ihr noch, so windet von neuem das Seil | | • | Prologue. Orchesterzwischenspiel: Tagesanbruch | | • | Prologue. Zu neuen Taten, teurer Helde | | • | Prologue. O heilige Goetter! Hehre Geschlechter! | | • | Prologue. Orchesterzwischenspiel: Siegfrieds Rheinfahrt | | • | Act 1. Scene 1. Nun hoer, Hagen, sage mir, Held | | • | Act 1. Scene 1. Braechte Siegfried die Braut dir heim | | • | Act 1. Scene 2. Heil! Siegfried, teurer Held | | • | Act 1. Scene 2. Wilkommen, Gast, in Gibichs Haus |
Disc 27
| • | Act 1. Scene 2. Deinem Bruder bot ich mich zum Mann | | • | Act 1. Scene 2. Bluehenden Lebens labendes Blut | | • | Act 1. Scene 2. Hier sitz ich zur Wacht | | • | Act 1. Scene 2. Orchesterzwischenspiel | | • | Act 1. Scene 3. Altgewohntes Geraeusch raunt meinem Ohr die Ferne | | • | Act 1. Scene 3. Hoere mit Sinn, was ich dir sage | | • | Act 1. Scene 3. Welch banger Traeume Maeren | | • | Act 1. Scene 3. Bruennhild'! Ein Freier kam |
Disc 28
| • | Act 2. Vorspiel | | • | Act 2. Scene 1. Schlaefst du, Hagen, mein Sohn? | | • | Act 2. Scene 1. Orchesterzwischenspiel | | • | Act 2. Scene 2. Hoiho, Hagen! Mueder Mann! | | • | Act 2. Scene 3. Hoiho! Ihr Gibichsmannen | | • | Act 2. Scene 4. Heil dir, Gunther | | • | Act 2. Scene 4. Bruennhild', die hehrste Frau | | • | Act 2. Scene 4. Was mueht Bruennhildes Blick? | | • | Act 2. Scene 4. Ha! Dieser war es, der mir den Ring entriss | | • | Act 2. Scene 4. Helle Wehr! Heilige Waffe! | | • | Act 2. Scene 5. Welches Unholds List liegt hier verhohlen? | | • | Act 2. Scene 5. Dir hilft kein Hirn | | • | Act 3. Vorspiel / Scene 1. Frau Sonne sendet lichte Strahlen |
Disc 29
| • | Act 3. Scene 1. Siegfried! | | • | Act 3. Scene 1. Ihr listigen Frauen, lasst das sein! | | • | Act 3. Scene 2. Hoiho! | | • | Act 3. Scene 2. Trink, Gunther, trink! | | • | Act 3. Scene 2. Mime hiess ein muerrischer Zwerg | | • | Act 3. Scene 2. Bruennhilde, heilige Braut! | | • | Act 3. Scene 2. Orchesterzwischenspiel: Trauernmarsch | | • | Act 3. Scene 3. War das sein Horn? | | • | Act 3. Scene 3. Schweigt eures Jammers jauchzenden Schwall | | • | Act 3. Scene 3. Starke Scheite schichtet mir dort | | • | Act 3. Scene 3. Mein Erbe nun nehm' ich zu eigen | | • | Act 3. Scene 3. Grane, mein Ross, sei mir gegruesst! | | • | Act 3. Scene 3. Zurueck vom Ring! |
Disc 30
| • | Vorspiel | | • | Act 1. He! Ho! Waldhueter ihr | | • | Act 1. Seht dort, die wilde Reiterin | | • | Act 1. Recht so! Habt Dank! Ein wenig Rast | | • | Act 1. Nicht Dank! Haha! Was wird es helfen? | | • | Act 1. O wunden-wundervoller heiliger Speer | | • | Act 1. Titurel, der fromme Held | | • | Act 1. Weh! - Hoho! - Auf! - Wer ist der Frevler? | | • | Act 1. Nun sag'! Nichts weisst du, was ich dich frage |
Disc 31
| • | Act 1. Vom Bade kehrt der Koenig heim | | • | Act 1. Verwandlungsmusik | | • | Act 1. Nun achte wohl und lass mich seh'n | | • | Act 1. Mein Sohn Amfortas, bist du am Amt? | | • | Act 1. Wervolles Erbe, dem ich verfallen | | • | Act 1. Enthuellet den Grail... Nehmet hin mein Blut | | • | Act 1. Wein und Brot des letzten Mahles | | • | Act 1. Auszug der Ritter / Was stehst du noch da? | | • | Act 2. Vorspiel / Die Zeit ist da | | • | Act 2. Ach! Ach! Tiefe Nacht! Wahnsinn!... Furchtbare Not! | | • | Act 2. Ho! Ihr Waechter! Ho! Ritter! |
Disc 32
| • | Act 2. Hier war das Tosen! | | • | Act 2. Komm, holder Knabe! | | • | Act 2. Parsifal! Weile! | | • | Act 2. Dies alles hab' ich nun getraeumt? | | • | Act 2. Ich sah das Kind an seiner Mutter Brust | | • | Act 2. Wehe! Was tat ich? Wo war ich? | | • | Act 2. Amfortas! Die Wunde! | | • | Act 2. Grausamer! Fuehlst du im Herzen | | • | Act 2. Vergeh, unseliges Weib! | | • | Act 3. Vorspiel | | • | Act 3. Von dorther kam das Stoehnen |
Disc 33
| • | Act 3. Heil dir, mein Gast! | | • | Act 3. Heil mir, dass ich dich wiederfinde! | | • | Act 3. Zu ihm, des tiefe Klagen | | • | Act 3. O Herr! War es ein Fluch | | • | Act 3. Nicht so! Die heil'ge Quelle selbst | | • | Act 3. Gesegnet sei, du Reiner, durch das Reine! | | • | Act 3. Karfreitagszauber. Wie duenkt mich doch die Aue heut so schoen | | • | Act 3. Du siehst, das ist nicht so | | • | Act 3. Mittag. Die Stund' ist da / Verwandlungsmusik | | • | Act 3. Geleiten wir im bergenden Schrein | | • | Act 3. Ja, Wehe! Weh' ueber mich! | | • | Act 3. Nur eine Waffe taugt | | • | Act 3. Hoechsten Heiles Wunder! |
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Album Description
A special, limited edition 33-CD box set containing all of Wagner's operas from The Flying Dutchman (1841) to his final masterpiece Parsifal (1882) in performances from the opera house created specifically for the production of Wagner's masterpieces, the Bayreuth Festival Theatre. Landmark performances by some of the greatest Wagnerians can be savored here, among them singers Birgit Nilsson, Leonie Rysanek, Anja Silja, Waltraud Meier, Astrid Varnay, Wolfgang Windgassen, Jess Thomas, James King, Ramon Vinay, Peter Hoffmann, Bernd Weikl, Theo Adam, Karl Ridderbusch, Hans Sotin and Simon Estes. The all-star roster of conductors includes Karl Boehm, James Levine, Wolfgang Sawallisch and Silvio Varviso. RICHARD WAGNER (1813-83) Der fliegende Hollaender Anja Silja * Fritz Uhl * Josef Greindl * Franz Crass Wolfgang Sawallisch, conductor Tannhaeuser Anja Silja * Wolfgang Windgassen * Eberhard Waechter * Josef Greindl Wolfgang Sawallisch, conductor Lohengrin Anja Silja * Astrid Varnay * Jess Thomas * Ramon Vinay Wolfgang Sawallisch, conductor Tristan und Isolde Birgit Nilsson * Wolfgang Windgassen Karl Boehm, conductor Die Meistersinger von Nuernberg Hannelore Bode * Jean Cox * Bernd Weikl * Karl Ridderbusch * Hans Sotin Silvio Varviso, conductor Der Ring des Nibelungen Das Rheingold Annelies Burmeister * Wolfgang Windgassen * Theo Adam * Gustav Neidlinger Karl Boehm, conductor Die Walkuere Birgit Nilsson * Leonie Rysanek * James King * Theo Adam Karl Boehm, conductor Siegfried Birgit Nilsson * Wolfgang Windgassen * Theo Adam Karl Boehm, conductor Goetterdaemmerung Birgit Nilsson * Wolfgang Windgassen * Josef Greindl * Gustav Neidlinger Karl Boehm, conductor Parsifal Waltraud Meier * Peter Hoffmann * Hans Sotin * Simon Estes James Levine, conductor
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| Customer Reviews: Read 3 more reviews...
 Bayreuth Bargain Basement Brings Big Bucks Bang June 23, 2008
54 out of 55 found this review helpful
A bargain dream for the Wagner fanatic and the beginning Wagner-lover alike...At this price you can't afford NOT to own it, unless you have them all already! That encomium now dispensed with, let us get on with the specifics: The set ranges from good to great, even legendary, but there are many variables.
THE FLYING DUTCHMAN(1961):Wolfgang Sawallisch is his usual forthright, straight-ahead self, and that can be a blessing in Wagner. Tempi tend toward brisk and textures are unusually clear. Franz Crass is a fine Dutchman, a beautiful voice always in service to the text. He broods better, though in the La Scala performance, of 1966 with Rysanek. Anja Silja's voice is girlishly bright, almost shrill at times but she captures Senta's manic obsession without going over the top. Fritz Uhl is a better-than-average Erik. The veteran Josef Greindl lightens his voice admirably, and there is some fine character work, but his half voice approach is not always attractive. The balance between stage and pit is fine. A very good, but not great, performance in which the chorus steals the third act.
TANNHAeUSER(Dresden version, 1962): This was the notorious scandal of the season, Grace Bumbry's "Black Venus" which, for all the fuss (first black singer at Bayreuth, no big whoop these days)isn't as well sung as we would expect from her other recordings. Not bad, but not as voluptuous as, say, her Eboli. Silja is not at her best either, reminding me a good deal of Gwyneth Jones, and not in a good way. Windgassen is at his best, though; a voice I find hard to love (that top range can get awfully piched) in an artist I always respect and admire. This is some of his most beautiful singing on record. Eberhard Waechter is a bit coarse as Wolfram, a real disappointment from such a rich-voiced singer. Greindl is adequate as the Landgraf, Franz Crass is wasted in the minor role of Biterolf, but Gerhard Stolze, before his stroke, reminds us of what a formidable singer he could have been. The chorus is fine, but the sound is so overly balanced to the stage that the orchestra sometimes disappears. There is an awful lot of stage and audience noise, very brightly recorded. The stage vs. pit balance is decidedly toward the singers, sometimes unnervingly so. Overall a good second recording, though the chorus, as usual, is excellent.
LOHENGRIN (1962): This is a GREAT Lohengrin. Not the blockbuster of Solti's, but clear, solid and sensitive. All the singers are at the top of their form. Silja is sweetly girlish and sensitive, a teenager eager for her sexual awakening, Jess Thomas ranges from heroic to tender and everything in between. The third act duet is a real joy. Ramon Vinay and Astrid Varnay, both Bayreuth veterans as tenor and soprano, are outstanding as the baritone and mezzo villain pair. Tom Krause is an unusually sensitive Herald, and Franz Crass, as King Henry the Fowler, is in superb voice, cutting through the massive ensembles. The choruses and brass fanfares are brilliant, with the second act finale especially good. The only disappointment is the very difficult act one chorus before Lohengrin's entrance: very clear and precise, but no real tension and excitement. Overall the sound is good, orchestra to pit ratio excellent.
TRISTAN UND ISOLDE (1966): This is the best Tristan recording available. If you don't already know that, there's nothing much more I can say. Boehm's orchestra is all white-hot passion; Windgassen, Nilsson, Ludwig, Talvela, Waechter...everyone at the peak of their game. If you already have it, don't worry, you can give the old one as a gift, or sell it.
DIE MEISTERSINGER (1967): This was the Centenary of this opera, and Bayreuth could have done better. (Bavarian State Opera, just up the road, did it proud: get the Kubelik recording of that production!) Karl Ridderbusch is a fine, Sachs, the chief reason for this recording being reissued, I guess, although I find his phrasing rather choppy at times. Hans Sotin, at the beginning of his career is excellent, too. This opera benefits from the italianate touch of Silvio Varviso in the pit. But Hannelore Bode, although she sings well, is a bit overpowering as Eva. And Jean Cox...never heard of him? Here's the reason. Its a decent performance, but not one of the top features of the set.
DER RING DES NIBELUNGEN (1967 & 1971?): This is a very, very great Ring, although it is reviled by some who learned it from the Solti recording. That is also a very, very great Ring, but quite different. Boehm's tempi are quicker, his colors brighter, and the textures clearer. It should be remembered that Boehm was of an earlier generation than Solti and Karajan. He learned much from his close association with Richard Strauss, who was an assistant conductor at Bayreuth for several years, working with Levi and Mottl, who learned it from, guess who...the composer. So it just may be that Boehm has it right.
Theo Adam is a very great Wotan, his voice clear and diction incisive, his characterization powerful and deep. Nilsson and Windgassen are perhaps better, at least more spontaneous than in the studio. Rysanek is glorious, if a bit loony as Sieglinde, but hey, you would be too if you'd been through...well, you know. James King is fine again as Siegmund, maybe not so intense as in Solti, but vocally solid. Gerd Nienstedt is surprisingly good as Hunding, a very low bass role, after a strong Donner, a baritone, in Das Rheingold. The Ride of the Valkyries is one of the most vivid I've ever heard. While much of the cast duplicates the Solti set, there are some interesting difference: Erwin Wohlfahrt's Mime is darker and richer than Stolze's; Thomas Stewart (Karajan's excellent Wotan) is overkill as Gunther, but doesn't acheive the tragic grandeur of Hermann Uhde in the '53 Krauss Goetterdaemmerung. Vera Soukupova's Erda is exemplary, while Ludmilla Dvorakova's Gutrune is, well, not. Still, There is much greatness here, and at a price $40 less for this entire set than this Ring alone, seriously worth it.
PARSIFAL (1985): James Levine had conducted the centennial performance of this opera at Bayreuth three years earlier with nearly the same cast except for Leonie Rysanek. While still a great actress and effective in act one, she was largely intolerable in the second act. Waltraud Meier, on the other hand, was at the very beginning of her steep trajectory into the Wagnerian stratosphere as Kundry and Isolde. Levine's tempi are even slower here than at the 100th Anniversary,(I believe this is the slowest Parsifal on recording; the prelude is 4 minutes longer than Solti's and the 1st act is 7 minutes longer than Karajan) and everyone in the cast has trouble coping with the languor. Not that there aren't some very beautiful moments here and there, but you will have to be very patient to get to them. Hoffmann shows serious vocal decline and absolutely no interpretive growth in the role of Parsifal, considering he'd been singing the part for at least five years . Meier is a bit tentative, and Simon Estes' Amfortas ranges from blustery to mawkish. Hans Sotin's huge sonorous voice mainly works to fill out the sluggishness of Levine's baton. I miss the expression of the magnificent '82 performance. Also missing here is a decent microphone over the stage. The sound is decidedly balanced toward the pit, making the singers difficult to hear at times. Was this at Sunny Jim's insistence? This is not a Parsifal I would recommend as a first or second recording, but its the one thats here. Maybe the '62 Knappertsbusch would have been more appropriate. But this is my 15th Parsifal recording, so what do I know?
Overall, this compendium scores best on Lohengrin, Tristan and the Ring. But you can't beat the price, even with a bag of chips thrown in. The booklet contains cast-lists and a few non-functional errors(one amusing typo puts Erda and two of the Rhinemaidens into Die Walkuere), directories of cues, and synopses with cue points in English, French, and German. There is one very early photo of Wagner. Packaging is minimal: A cardboard box, and the discs are in plain sleeves with a clear window, each disc is numbered consecutively (i.e. Tannhaeuser Act III is disc #5, Parsifal Act I starts on disc #30)and the print is small, so if you aren't careful they will easily get out of order and hard to sort through. Consider the liberal use of some Sharpies and color code, or get extravagant and print clear label overlays. I've put mine in 4 to a page sheets in a binder. The individual sheets come out easily and fold up CD size.
For anyone just starting on the journey through the Wagner operas, this is a great start. For those of us who have been traveling this path for decades, its a great supplement. Now what do I do with my DGG Tristan? Ebay?
Irresistible bargain for Wagnerites and explorers June 19, 2008
34 out of 35 found this review helpful
This 33-CD compendium is certainly one of the finest bargains Decca has made available. All these recordings were made from live and rehearsal performances at Bayreuth and all are in fine stereo sound, well-mastered, which captures the Green Hill acoustic wonderfully well. At least one of these performances (Boehm's TRISTAN UND ISOLDE) can lay claim to being the best available version; the old mono Furtwaengler version is its only real competition. Boehm's RING is also a fine achievement, capped by Nilsson's matchless Brunnhilde in white hot performances, perhaps preferable to her performances under Solti. The performances by King, Rysanek, Windgassen and Adam are classic and not to be missed, and Boehm's conducting of the scores is propulsive and all of a piece. No other RING performance is so well integrated as this one.
Levine's PARSIFAL is also on a very high level, with Waltrud Meier's excellent and thrilling Kundry and Hans Sotin's gorgeously sung Gurnemanz. The digital sound is especially winning here, capturing the opera in the theatre it was written for. I have real affection for Levine's way with this score. I saw him do it at the Met nine times over the years and those are among my most cherished operatic memories. He made several later recordings of PARSIFAL and all of them are wonderful.
The other performances might not be my first choice among competing versions, but all of them are fine, representative recordings with many delights and nothing to seriously disappoint one. I'm quite fond of Silja's performances (FLYING DUTCMAN, TANNHAUSER and LOHENGRIN - all superbly conducted by Sawallisch), and Astrid Varnay's Ortrud certainly burns up the soundwaves.
At less than two dollars per disc, what are you waiting for? This won't be around long.
Don't let the sloppy book confuse you June 29, 2008
20 out of 24 found this review helpful
This is a great bargain. The best Lohengrin available and a blazing Ring. The booklet has many errors, the biggest of which is that Rheingold and Siegfried date from 1971 while the other two parts are from 1967. Don't be fooled. The entire Ring is from 1967. Bohm did not conduct the Ring in 1971 -- Horst Stein did, Windgassen was not singing in it in '71, the 67 was Wieland's production, the 71 was Wolfgang's. And on and on. Enjoy the CD's. For less than $2 a disc, we can do with a sloppy book.
For Wagner Fans And At A Fantastic Price. July 17, 2008
12 out of 12 found this review helpful
When most music enthusiasts think of "great" Wagner conductors, usually the names of Von Karajan, Solti, and Furtwaengler come to mind. For some odd reason, Karl Boehm and Wolfgang Sawallisch are rarely considered and that's a shame. (No disrepect meant towards James Levine, an excellent conductor of Wagner or Silvio Varviso.) I'd venture as far as to say that Karl Boehm is one of the least appreciated "great" conductors, period. I had the good fortune to see him conduct Strauss' "Ariadne auf Naxos" in Vienna at the twilight of his long and illustrious career and well as having been to many Wolfgang Sawallisch-led performances at the Wiener Staatsoper in the early 70's. Many of the soloists featured on these live recordings from Bayreuth are or were famous for their Wagnerian singing and I was thrilled to get to hear them again.
Fortunately, all of these performances were recorded in excellent stereo, and the live audiences were quiet for the most part and the engineers have wisely excised audience applause. Some coughing is more noticable in some performances than in others reminding me of the old joke, "When people have a cough they don't stay home, they go to the opera!!"
And now Decca has re-issued all the "great" operas from Der Fliegende Hollander to Parzifal and if one is really desperate to have the "complete" operas, one can augment the collection to include "Das Liebesverbot", "Die Feen", and "Rienzi" still for a pittance when compared to buying the European-issued "Complete Wagner" series that includes those three early operas and at a much higher cost.
My only quibble is that one must do with plot synopses and not have the libretti included.
And all of this for only $56 bucks for 33 CDs?? Thank you, Decca and God bless you!! This is just too good to pass up for several reasons. Most current Ring cycles alone can cost over $100, so what are you waiting for??
Viel Vernuegen!!!
A No Brainer August 14, 2008
6 out of 6 found this review helpful
Buying this set is a no brainer. The price for acquiring recordings of all of Wagner's major operas is irresistible. All of these performances range from good to great. Although recorded live, audience noise is almost non-existent and the balance between orchestra and singers is very good. The sound is as good as many of my recordings made in a studio. I had all recordings of all of these operas before buying this set. However, getting to hear other performances of these works was too pricey for me. This was a terrific way to add to my CD opera collection and hear recordings that I had coveted (Bohm's Ring for example) but would not have had the chance to experience. I recommend buying this set while it is still available. It will become a collector's item.
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