Wagner: Die Meistersinger von Nürnberg
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Label: Angel Records
Category: Music
Average customer rating:
Media: Audio CD
Number Of Discs: 4
UPC: 077776415420
EAN: 0077776415420
ASIN: B000002S36
Release Date: 1993-02-16 |
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Listmania:
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My favorite Wagner's Opera recordings
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Best Mono Wagner
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Don't Forget About Ms. Grummer
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Recommended Wagner Recordings
Tracks:
- Act One Scene One: Prld - Berliner Philharmoniker
- Act One Scene One: Da zu dir der Heiland kam - Chor der St. Hedwigs-Kathdrale, Berlin
- Act One Scene One: Verweilt!-Ein Wort! - Rudolf Schock/Elisabeth Grummer/Marga Hoffgen
- Act One Scene One: Da bin ich! - Gerhard Unger/Marga Hoffgen/Rudolf Schock/Elisabeth Grummer
- Act One Scene Two: David, was stehst? - Gerhard Unger/Rudolf Schock
- Act One Scene Two: Mein Herr! der Singer Meisterschlag - Gerhard Unger/Rudolf Schock
- Act One Scene Two: Der Meister Ton' und Weisen - Gerhard Unger/Rudolf Schock
- Act One Scene Two: Damit, Herr Ritter, ist's so bewandt!Act One - Gerhard Unger/Rudolf Schock
- Act One Scene Two: Aller End' ist doch David der Allergescheit'st - Rudolf Schock
- Act One Scene Three: Seid meiner Treue wohl versehen - Gottlob Frick/Benno Kusche/Rudolf Schock
- Act One Scene Three: Scene Three:Got gruEuch, Meister! - Ferdinand Frantz/Horst Wilhelm/Benno Kusche/Walter Stoll/Gustav Neidlinger/Gottlob Frick...
- Act One Scene Three: Das schone Fest, Johannistag - Gottlob Frick/Ferdinand Frantz/Gustav Neidlinger/Benno Kusche
- Act One Scene Three: Vielleicht schon ginget lhr zu weit - Ferdinand Frantz/Gustav Neidlinger/Benno Kusche/Gottlob Frick
- Act One Scene Three: Dacht' ich mir's doch! - Benno Kusche/Gustav Neidlinger/Gottlob Frick/Ferdinand Frantz
- Act One Scene Three: Am stillen Herd in Winterszeit - Rudolf Schock/Ferdinand Frantz/Benno Kusche/Gustav Neidlinger/Horst Wilhelm...
- Act One Scene Three: Nun, Meister, Wenn's gefallt - Gustav Neidlinger/Benno Kusche/Rudolf Schock
Tracks:
- Act One Scene Three: Fanget an! - Benno Kusche/Rudolf Schock
- Act One Scene Three: Seid lhr nun fertig? - Benno Kusche/Rudolf Schock/Gottlob Frick/Gustav Neidlinger
- Act One Scene Three: Halt! Meister! Nicht so geeilt! - Ferdinand Frantz/Benno Kusche/Gustav Neidlinger/Gottlob Frick...
- Act Two Scene One: Johannistag! Johannistag! - Gerhard Unger/Marga Hoffgen/Ferdinand Frantz
- Act Two Scene Two: LaSeh'n, ob Meister Sachs zu Haus? - Gottlob Frick/Elisabeth Grummer/Marga Hoffgen
- Act Two Scene Three: Zeig her!-'s ist gut - Ferdinand Frantz/Gerhard Unger
- Act Two Scene Three: Was duftet doch der Flieder - Ferdinand Frantz
- Act Two Scene Four: Gut'n Abend, Meister! - Elisabeth Grummer/Ferdinand Frantz/Marga Hoffgen
- Act Two Scene Four: Hilf Gott! wo bliebst du nur so spat? - Marga Hoffgen/Elisabeth Grummer/Gottlob Frick
- Act Two Scene Five: Da ist er! - Elisabeth Grummer/Marga Hoffgen/Rudolf Schock
- Act Two Scene Five: Geliebter, spare den Zorn! - Elisabeth Grummer/Marga Hoffgen/Rudolf Schock...
- Act Two Scene Five: Uble Dinge, die ich da merk' - Ferdinand Frantz/Rudolf Schock/Elisabeth Grummer
- Act Two Scene Six: Tu's nicht! Doch horch! - Elisabeth Grummer/Rudolf Schock/Ferdinand Frantz
- Act Two Scene Six: Jerum! Jerum! - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Two Scene Six: Das Fenster geht auf - Ferdinand Frantz/Benno Kusche/Rudolf Schock/Elisabeth Grummer
- Act Two Scene Six: Den Tag seh' ich erscheinen - Benno Kusche/Ferdinand Frantz
- Act Two Scene Six: Mit den Schuhen ward ich fertig schier! - Ferdinand Frantz/Benno Kusche/Gerhard Unger/Marga Hoffgen...
Tracks:
- Act Three: Prld - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Three Scene One: Gleich, Meister! Hier! - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Three Scene One: Am Jordan Sankt Johannes stand... - Gerhard Unger/Ferdinand Frantz
- Act Three Scene One: Wahn! Wahn! Uberall Wahn! - Ferdinand Frantz
- Act Three Scene Two: GruGott, mein Junker! - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Three Scene Two: Mein Freund! in holder Jugendzeit - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Three Scene Two: Morgendlich leuchtend in rosigem Schein - Ferdinand Frantz/Rudolf Schock
- Act Three Scene Three: Ein Werbelied! von Sachs? - Chor der St. Hedwigs-Kathdrale, Berlin
- Act Three Scene Three: Das Gedicht? Hier lieich's - Benno Kusche/Ferdinand Frantz
- Act Three Scene Four: Sieh, Evchen! - Ferdinand Frantz/Elisabeth Grummer/Rudolf Schock
- Act Three Scene Four: Hat man mit dem Schuhwerk nicht seine Not! - Ferdinand Frantz/Elisabeth Grummer
- Act Three Scene Four: Ein Kind war hier geboren - Ferdinand Frantz
Tracks:
- Act Three Scene Four: Die Selige Morgentraum-Deutweise - Ferdinand Frantz/Elisabeth Grummer/Rudolf Schock/Gerhard Unger...
- Act Three Scene Five: Sankt Crispin, lobet ihn! - Chor der St. Hedwigs-Kathdrale, Berlin ...
- Act Three Scene Five: lhr tanzt? Was werden die Meister sagen? - Gerhard Unger...
- Act Three Scene Five: Silentium! Silentium! - Chor der St. Hedwigs-Kathdrale, Berlin...
- Act Three Scene Five: Euch macht ihr's leicht - Ferdinand Frantz/Gottlob Frick/Benno Kusche
- Act Three Scene Five: Nun denn, wenn's Meistern und Volk beliebt - Ferdinand Frantz/Gustav Neidlinger/Benno Kusche
- Act Three Scene Five: Das Lied, furwahr, ist nicht von mir - Ferdinand Frantz...
- Act Three Scene Five: Morgendlich leuchtend im rosigem Schein - Rudolf Schock/Ferdinand Frantz/Gottlob Frick/Elisabeth Grummer...
- Act Three Scene Five: Verachtet mir die Meister nicht - Ferdinand Frantz...
Customer Reviews:
EMI, PLEASE REISSUE THIS!.......2006-09-18
I do not understand how this performance could be out of print. EMI, please make up for this error as soon as possible! Rudolf Kempe was one of the greatest conductors on EMI's roster; that they failed to renew his contract and allowed him to free-lance is surely one of the great blunders. Listen to this sparkling, heartfelt, and spirited account of Wagner's masterpiece and you will understand just how underrated Kempe was. If EMI doesnt plan to reissue this greatest of all "Meistersingers," maybe they at least can lease it to a label like Testament. For that matter, could some enterprising company finally issue Kempe's 1960 Bayreuth "Ring"? Having heard it again, I go back to my orignal opinion: The Solti is certainly the best stereo version and a great performance in its own right, the Krauss 1953 Bayreuth is perhaps more evenly cast in some roles, but I think Kempe's is marginally greater, for its subtlety and moving humanity. Anyway, folks, get out the word: KEMPE RULES!
The most life-affirming of operas........2003-08-03
Happy the browser who is considering the purchase of a recording of this opera! Few operas have such a life-affirming effect. Few conductors, moreover, have been more successful in transmitting it than Karajan (recorded live at Bayreuth in 1951) and Kempe recorded in Berlin in 1956. Do not be deterred by the age of the Berlin performance. Technically it was a good era for recording in Berlin. The gleam on the voices was well caught and the choral and orchestral sonorities have depth and sufficient brilliance. The opportunity to begin re-recording in stereo came when the project was half completed at the Berlin Wintergarten, but Kempe, as great a conductor as any for keeping all parts of a performance in perfect proportion, decided to complete what had been begun.
And how splendidly it does begin! All the pomp and pride of the key of C Major is displayed. When the overture joins seamlessly to the opening chorale, the interior of St Katherine's Church and the folk of Nuremberg worshiping therein are as clearly evoked as they might be in "a painting by Master Dürer".
Kempe had some favorite and experienced singers to undertake the leading roles. Ferdinand Frantz, who I saw in this part, was Kempe's favorite Sachs. He has a dark rich voice, distinctive and authoritative enough to be distinguished from the many other mastersingers, and not too elderly sounding to suggest that Eva would never consider being his second wife. Elisabeth Grümmer provides an Eva that has never been excelled in complete recordings of this opera. The rich gleaming timbre of her voice, her legato phrasing in the Quintet, and her trilling at the end of the Prize Song demonstrate almost every lesson in singing the mastersingers try to uphold. In this opera heavy with male voices, Magdalene is the only other female role. Magda Hoffgen copes well with this minor part, a part that lies uncomfortably low for a soprano and too high for a mezzo. Gerhard Unger provides his best-recorded performance as David, clearly projecting in voice and manner the amiable and loyal apprentice. It would be churlish to dismiss Rudolf Schock's Walther as less than first class, merely because that singer had considerable success elsewhere than in opera. If he seems more preoccupied with the vocal demands of the role and less able to impress as a contender for the prize of Eva in marriage, it must be remembered that few tenors succeed in this role and that the great Melchior never attempted it. Benno Kusche's Beckmesser comfortably steers a middle course between clowning and villainy. Gustav Neidlinger's rich bass adds to the vocal texture here and there, and the wonderful Gottlob Frick is clearly a father for Eva who has not yet lost a commanding ring to his voice. A luxury item is provided at the end of the cast list in the form of Hermann Prey as the night watchman.
A synopsis in provided in English, German and French, but no libretto.
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