Wagner: "SIEGFRIED" (MET, 12/22/72 house wire) Brilioth, Schröder-Feinen, Stewart, Ulfung-Leinsdorf скачать в хорошем качестве

Wagner: "SIEGFRIED" (MET, 12/22/72 house wire) Brilioth, Schröder-Feinen, Stewart, Ulfung-Leinsdorf

Metropolitan Opera New York, N.Y December 22nd, 1972 (There are a few spots where measures jump a few bars. Couldn't be helped) Another house wire recording, and a RARE recording. Remastered. Richard Wagner SIEGFRIED Siegfried: Helge Brilioth Brünnhilde: Ursula Schröder-Feinen Wanderer: Thomas Stewart Erda: Ruza Baldani (last performance) Mime: Ragnar Ulfung Alberich: Russell Christopher Fafner: John Macurdy Forest Bird: Judith Blegen Conductor Erich Leinsdorf Act One 0:00 Act Two 1:08:03 Act Three 2:15:35 Orchestra of the Metropolitan Opera Harold C. Schonberg, New York Times Is there such a category as a lyric heldentenor? Helge Brilioth sang his first Siegfried at the Metropolitan Opera on Tuesday evening, and he would fit into the category. In any case, his was the finest impersonation of that killing role New York has seen since the postwar days of Set Svanholm. (We won't talk about Lauritz Melchior, who was in an all-time class by himself.) Dramatically, it was the finest Siegfried of our time. Mr. Brilioth has a fine figure and gives a feeling of youth. More: He enters into the role, bounding all over the stage, filing down his sword fragments as though he means it, bringing a great deal of personality and temperament to his acting. Physically, this is the Siegfried of any Brünnhilde's dreams. Vocally, Mr. Brilioth lacks the ultimate strength for the role. He has some obvious shortcomings, and they have previously been noted. But one should not stress those in favor of the many assets that the big tenor has. The voice is forward and well-focused, has a sturdy ring, and is not forced. Basically, it is more a lyric than a heroic instrument, but it does have the carrying power for most of the Siegfried part, riding nicely over the orchestra. And Mr. Brilioth is not that old. He has plenty of singing ahead of him, and if he does not abuse his voice, he has it in him, as the voice matures and deepens, to be the great heldentenor of the age. Review of John Rockwell in The New York Times Schröder-Feinen's first Met Elektra It was old-fashioned star time at the Metropolitan Opera Saturday afternoon, with Ursula Schröder-Feinen in her first assumption of Elektra with the company, Roberta Knie in her Met debut as Chrysothemis and Astrid Varnay as Klytämnestra. Miss Schröder-Feinen isn't the greatest actress in the world, and her short stature was a bit incongruous, dramatically, next to the taller Miss Knie. But she will no doubt develop her interpretation - it's conscientious and intelligent even now. And her singing was as spectacular as this listener has ever heard in the part: huge, even, pure and rich, flashing on top and astonishingly solid in the middle and lower registers. For sheer sound there can't be a dramatic soprano active today who can match her. Robert Sherman, New York Times Add the name of Russell Christopher to the list of American singers who are starting to get their second wind at the Metropolitan Opera. Mr. Christopher came to the company in 1963 as a winner of the National Council auditions, but he has rarely been able to press beyond minor roles like Yamadori in “Butterfly,” Sciarrone in “Tosca,” and the Wigmaker in “Ariadne.” Friday night, the opportunity did arise for a far more important assignment — replacing the indisposed Gustav Neidlinger as Alberich, in Wagner's “Siegfried”—and Mr. Christopher was well ready for it. Considering that his voice is really too light and youthful sounding to catch Alberich's sinister malevolence, Mr. Christopher gave a credible performance.........he sang sturdily in the earlier confrontation with the imposing Wanderer of Thomas Stewart. His slithery stage movements certainly helped emphasize the scheming nature of the villain who stole the Ring in the first place.