Wagner: Wesendonck-Lieder; Arias
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Music CD Cover
Composer: Richard WagnerConductor: Georges Sebastian
Conductor: Issay Alexandrovich Dobroven
Conductor: Wilhelm Furtw?ngler
Performer: Elisabeth H?ngen
Orchestra: Philharmonia Orchestra of London
Performer: Gerald Moore
Performer: Kirsten Flagstad
Performer: Set Svanholm
Edition: Music CD
CD Release Date: 2005-01-25
Music Label: EMI Classics
Soundtracks:
- 1: The Angel
- 2: Stand Still
- 3: In The Greenhouse
- 4: Pains
- 5: Dreams
- Allmacht'Ge Jungfrau (Elisabeth's Prayer)
- Ewig War Ich
- Starke Scheite Schichtet Mir Dort (Brunnhilde's Immolation)
- Doch Nun Von Tristan? (Isolde's Narrative And Curse)
- Mild Und Leise
Free Music Notes for Wagner: Wesendonck-Lieder; Arias
Free Music Review: Wagner Scenes and Unseens
Hit: 5 Stars
You can get this CD just for Mild und Leise- that's exactly what I did before I considered any full scale versions of Tristan und Isolde. But the Wesendonck-Lieder are interesting enough by themselves, though the text may be expendable; up close and personal in the studio, Flagstad still sounds great. And all Wagner opera scenes included here are a good selection that plays to her strengths. Two tracks in particular, the duet from Siegfried and the Immolation Scene, are fascinating, even when plucked out of the opera context. And you can always simply luxuriate in the sound of Flagstad's voice. It's like an ocean wave of pure sound that carries everything. Her interpretations are restrained on the surface, yet sensual and moving.
And then, there's Mild und Leise. With all the recordings available, and now that it has its own website [...], you can listen to so many singers try on Isolde role for size, but I still feel it's one Flagstad princess to rule them all. It's not only that her voice is so perfect- even here, in this hazy, hissy, muted old recording- which is an added attraction, almost, because it gives the music the otherworldly feel of a transmission from some other planet, outer space, or where it is that Tristan and Isolde now reside. I think Flagstad captures that certain form of rapture better than any other Wagnerian soprano I know. I like many of the current Isoldes, Waltraud Meier and Nina Stemme are great, but there's something about the languid, dreamy way Flagstad wraps her voice around the music, gazing into that vision before her, unseen to us, that will stick around in any recording medium, as it has for the last fifty years.
Wagner: Wesendonck-Lieder; Arias Poster
From about 1935, when she made her New York debut, to 1955, when she retired, the great Norwegian soprano Kirsten Flagstad (1895-1962) was the world's pre-eminent Wagnerian heroine. These excerpts from her signature roles, reissued from recordings of 1948 and 1951, present her at her peak. Her voice is singularly beautiful: absolutely even over a huge range, dark, warm, with a narrow, perfectly focused vibrato, a floating pianissimo, a glorious top, and a sense of endless reserves of power. Musically and dramatically, she never loses her noble restraint. What was sometimes called her cool detachment comes across here as austere and inward. Even in the Wesendonck Songs, which, set to what may be the worst poems in the German language, contain some of Wagner's most sensuous effusions, she avoids sentimentality and excess. Eisabeth's Prayer from Tannh?user is devout, simple, deeply felt; the final duet from Siegfried rises from pent-up apprehension to unbridled rapture. In Isolde's first-act duet with Brang?ne she goes from anguished bitterness to vengeful fury with utmost intensity; in the final scene, hallucinatory languor gradually turns into visionary ecstasy. Br?nnhilde's Immolation from G?tterd?mmerung becomes an entire opera, progressing from accusation, lament, and resignation to triumphant resolve. The orchestra is excellent throughout, but in this scene, the playing under Wilhelm Furtw?ngler's leadership is positively inspired. --Edith EislerClassical Music CDs
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