Wagner: Siegfried: Final Scene; Bayreuth (1971) Jean Cox, Catarina Ligendza скачать в хорошем качестве

Wagner: Siegfried: Final Scene; Bayreuth (1971) Jean Cox, Catarina Ligendza

Horst Stein, Bayreuth Festival Orchestra (Recorded 29th July, 1971, Bayreuth Festival Theatre) Siegfried — Jean Cox Brünnhilde — Catarina Ligendza The production was by Wolfgang Wagner. This excerpt is from a CD that came with a 2002 issue of "Opernwelt" magazine. Although the complete recording is available elsewhere, the sound quality isn't as good as this excerpt, which was produced using the original tapes from the Bayerischer Rundfunk archives. =============== Stephan Mösch writes: "First there was Wolfgang Windgassen, after him came René Kollo. This covered the Wagnerian tenor Fach as far as the record companies were concerned. This has nothing to do with the art and skill of Jean Cox. But it led to the grotesque fact that the formative Siegfried of his generation is not documented in any overall recording. As far as the Bayreuth Festival is concerned, it is similar: first there was Wieland Wagner's "Ring" production from 1965, which had acquired the character of a "last will and testament" due to the early death of the director. Then, from 1976, Patrice Chéreau caused a scandal. But exactly in between are the Bayreuth glory years of Cox as Siegfried. In 1970 Wolfgang Wagner's production came out, and many Brünnhildes tried their hand at it: the conductors Horst Stein and Jean Cox were not just the constants, but also the guarantors of quality until 1975. Of all the "Siegfried" performances that Bayerischer Rundfunk broadcast live in those years, the one of July 29th, 1971 has the greatest tension—and the greatest finale. Jean Cox and Caterina Ligendza complement each other in timbre, in the youthfulness and naturalness of their charisma (this is also conveyed purely vocally), in the security of their vocal leadership. How Ligendza uses the ascending semitone that Wagner uses for the word "Liebe" ("...mir war es nur Liebe zu dir!") for a diminuendo! This can be seen as a detail in the fine elaboration of this entire final scene. Ligendza and Cox are concerned with inner states of experience, and both need little external vocal drama for this (as is often used in this scene). In this way, Cox can capture Siegfried's urging ("O Weib, jetzt lösche den Brand!") without excessive declamation, entirely within the sung phrases. And Ligendza sings "Ewig war ich, ewig bin ich" by no means as a direct address to the partner, but lets a cloudy, reflective tone resonate: Brünnhilde searches in her memory, she invents a new thought. The fact that one can hear this process makes the famous passage, the lyricism of which makes many sopranos complacent, exciting again. Horst Stein is a congenial partner, fine-tuning the dynamics with the singers and distinguishing very precisely between "piano" and "piu piano". Despite all the shading, he and the festival orchestra preserve the large folds that the score needs here. The word much invoked today of "chamber music", which Wagner actually wrote and which only often remains undiscovered, just doesn't work: it's about the finest nuances WITHIN an opulent musical sentence structure and not about its fundamental scaling back. In this sense, Stein works no differently than Hans Knappertsbusch, whose assistant he was for a long time. And as with his "Ring" recordings, this "Siegfried" also has the feeling that everything is "right" in a completely unspectacular way. That alone is a sensation today." =============== 00:00 — "Heil dir, Sonne! Heil dir, Licht!" 06:45 — "O Siegfried! Siegfried! Seliger Held!" 13:12 — "Dort seh' ich Grane, mein selig Ross" 21:29 — "Ewig war ich, ewig bin ich" 26:15 — "Dich lieb' ich: o liebtest mich du!" 31:33 — "Lachend muss ich dich lieben" =============== "Siegfried" is an opera in three acts by Richard Wagner, with a German libretto by the composer. It is the third of the four works that form the cycle "Der Ring des Nibelungen" ("The Ring of the Nibelung"). It was first performed at the Bayreuth Festival Theatre on 16th August, 1876.