...Yeash...I will post Today ( latter )...this is Great...but Download it at night...cause it's very heavy but was heavy to me to U/L to !!! ( If you like Wagner of course :) )...
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Ultimate Wagner - Essential Masterpieces (2008) [FLAC]



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01. Das Rheingold: Prelude by Richard Wagner
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 3 Minutes 31 Secs.

02. Das Rheingold: Weia! Waga! Woge du Welle! by Richard Wagner
Performer: Helga Dernesch (Soprano), Ruth Hesse (Soprano), Gustav Neidlinger (Bass),
Dorothea Siebert (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 2 Minutes 16 Secs.

03. Das Rheingold: Garstig glatter, glitschriger Glimmer! by Richard Wagner
Performer: Dorothea Siebert (Soprano), Helga Dernesch (Soprano), Gustav Neidlinger (Bass),
Ruth Hesse (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 4 Minutes 45 Secs.

04. Das Rheingold: Wallala! Lalaleia! Leialalei! by Richard Wagner
Performer: Helga Dernesch (Soprano), Dorothea Siebert (Soprano), Gustav Neidlinger (Bass),
Ruth Hesse (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 2 Minutes 24 Secs.

05. Das Rheingold: Bin ich nun frei? "Alberich's Curse" by Richard Wagner
Performer: Gustav Neidlinger (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 3 Minutes 20 Secs.

06. Das Rheingold: Schwules Gedunst schwebt in der Luft by Richard Wagner
Performer: Gerd Nienstedt (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 2 Minutes 33 Secs.

07. Das Rheingold: Zur Burg fuhrt die Brucke... by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Annelies Burmeister (Soprano), Hermin Esser (Tenor),
Theo Adam (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 5 Minutes 5 Secs.

08. Das Rheingold: Rheingold! Rheingold! by Richard Wagner
Performer: Gerd Nienstedt (Bass), Ruth Hesse (Soprano), Helga Dernesch (Soprano),
Theo Adam (Bass), Dorothea Siebert (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1854; Germany
Length: 3 Minutes 34 Secs.

09. Die Walkure: Act 1 Prelude by Richard Wagner
Performer: James King (Tenor), Birgit Nilsson (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 3 Minutes 58 Secs.

10. Die Walkure: Wintersturme wichen dem Wonnemond by Richard Wagner
Performer: James King (Tenor), Birgit Nilsson (Soprano)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 9 Minutes 14 Secs.

11. Die Walkure: Wehwalt heisst du fur wahr? by Richard Wagner
Performer: Birgit Nilsson (Soprano), James King (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 5 Minutes 2 Secs.

12. Die Walkure: Nun zaume dein Ross by Richard Wagner
Performer: Birgit Nilsson (Soprano), Theo Adam (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 4 Minutes 55 Secs.

13. Die Walkure: Siegmund, sieh' auf mich "Todesverkundigung" by Richard Wagner
Performer: Birgit Nilsson (Soprano), James King (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 9 Minutes 41 Secs.

14. Die Walkure: Du sahest der Walkure sehrenden Blick by Richard Wagner
Performer: Birgit Nilsson (Soprano), James King (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 7 Minutes 45 Secs.

15. Die Walkure: Ho-jo-to-ho! by Richard Wagner
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 6 Minutes 11 Secs.

16. Die Walkure: Leb' wohl..."Farewell and Magic Fire music" by Richard Wagner
Performer: Theo Adam (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 10 Minutes 29 Secs.

17. Die Walkure: Loge, hor! by Richard Wagner
Performer: Theo Adam (Bass)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1856; Germany
Length: 4 Minutes 27 Secs.

18. Siegfried: Hoiho! Hoiho! Hau ein! Hau ein! by Richard Wagner
Performer: Birgit Nilsson (Soprano), Wolfgang Windgassen (Bass), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 2 Minutes 50 Secs.

19. Siegfried: Den der Bruder schuf by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 2 Minutes 59 Secs.

20. Siegfried: Aber, wie sah meine Mutter... "Forest Murmurs" by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 2 Minutes 38 Secs.

21. Siegfried: Du holdes Vogelein by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 3 Minutes 3 Secs.

22. Siegfried: Es schweigt und lauscht by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 2 Minutes 32 Secs.

23. Siegfried: Siegfried's Horn Call by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 1 Minutes 15 Secs.

24. Siegfried: Ewig war ich, ewig bin ich by Richard Wagner
Performer: Wolfgang Windgassen (Bass), Birgit Nilsson (Soprano), Erwin Wohlfahrt (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1871; Germany
Length: 11 Minutes 4 Secs.

25. Gotterdammerung: Dawn and Siegfried's Rhine Journey by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1874; Germany
Length: 5 Minutes 30 Secs.

26. Gotterdammerung: Brunnhilde, heilige Braut (Siegfried's death) by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1874; Germany
Length: 4 Minutes 39 Secs.

27. Gotterdammerung: Siegfried's Funeral Music by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1874; Germany
Length: 5 Minutes 51 Secs.

28. Gotterdammerung: Immolation by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1874; Germany
Length: 7 Minutes 19 Secs.

29. Gotterdammerung: Mein Erbe nun nehm ich zu eigen by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1861-1874; Germany
Length: 3 Minutes 33 Secs.

30. Gotterdammerung: Grane, mein Ross, sei mir gegrusst! by Richard Wagner
Performer: Josef Greindl (Bass), Birgit Nilsson (Soprano), Wolfgang Windgassen (Tenor)
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Length: 2 Minutes 3 Secs.

31. Gotterdammerung: Zuruck vom Ring (Orchestral Finale) by Richard Wagner
Conductor: Karl Bohm
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1850-1874; Germany
Length: 4 Minutes 1 Secs.

32. Tristan und Isolde: Act 1 Prelude by Richard Wagner
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1858; Germany
Length: 10 Minutes 33 Secs.

33. Tristan und Isolde: Westwarts schweift der Blick by Richard Wagner
Performer: Birgit Nilsson (Soprano), Regina Resnik (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1857-1859; Germany
Length: 6 Minutes 23 Secs.

34. Tristan und Isolde: O sink' hernieder, Nacht der Liebe by Richard Wagner
Performer: Fritz Uhl (Tenor), Birgit Nilsson (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
Length: 6 Minutes 27 Secs.

35. Tristan und Isolde: Einsam wachend...Habet Acht! by Richard Wagner
Performer: Regina Resnik (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
Length: 4 Minutes 53 Secs.

36. Tristan und Isolde: Wie hehr erkenn'ich unsrer Liebe Wesen! by Richard Wagner
Performer: Fritz Uhl (Tenor), Birgit Nilsson (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1857-1859; Germany
Length: 4 Minutes 47 Secs.

37. Tristan und Isolde: So sturben wir by Richard Wagner
Performer: Fritz Uhl (Tenor), Regina Resnik (Soprano), Birgit Nilsson (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1857-1859; Germany
Length: 9 Minutes 31 Secs.

38. Tristan und Isolde: Act 3 Prelude by Richard Wagner
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
Length: 7 Minutes 55 Secs.

39. Tristan und Isolde: Und drauf Isolde by Richard Wagner
Performer: Fritz Uhl (Tenor)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
Length: 8 Minutes 23 Secs.

40. Tristan und Isolde: O diese Sonne by Richard Wagner
Performer: Fritz Uhl (Tenor), Birgit Nilsson (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1857-1859; Germany
Length: 3 Minutes 40 Secs.

41. Tristan und Isolde: Kurwenal! He! by Richard Wagner
Performer: Tom Krause (Baritone), Regina Resnik (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1857-1859; Germany
Length: 8 Minutes 32 Secs.

42. Tristan und Isolde: Mild und leise "Liebestod" by Richard Wagner
Performer: Birgit Nilsson (Soprano)
Conductor: Sir Georg Solti
Orchestra/Ensemble: Vienna Philharmonic Orchestra
Period: Romantic
Written: 1859; Germany
Length: 7 Minutes 3 Secs.

43. Die Meistersinger von Nurnberg: Act 1 Prelude by Richard Wagner
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 9 Minutes 8 Secs.

44. Die Meistersinger von Nurnberg: Da zu dir der Heiland kam by Richard Wagner
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 3 Minutes 6 Secs.

45. Die Meistersinger von Nurnberg: Verweilt! Ein Wort by Richard Wagner
Performer: Hannelore Bode (Soprano), Jean Cox (Tenor), Karl Ridderbusch (Bass),
Anna Reynolds (Alto), Frieder Stricker (Tenor)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 8 Minutes 51 Secs.

46. Die Meistersinger von Nurnberg: Am stillen Herd by Richard Wagner
Performer: Jean Cox (Tenor), Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 5 Minutes 2 Secs.

47. Die Meistersinger von Nurnberg: Johannistag! Johannistag! by Richard Wagner
Performer: Jean Cox (Tenor), Karl Ridderbusch (Bass), Frieder Stricker (Tenor)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 3 Minutes 57 Secs.

48. Die Meistersinger von Nurnberg: Was duftet doch der Flieder by Richard Wagner
Performer: Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 6 Minutes 3 Secs.

49. Die Meistersinger von Nurnberg: Act 3 Prelude by Richard Wagner
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 5 Minutes 34 Secs.

50. Die Meistersinger von Nurnberg: Gleich, Meister! Hier! by Richard Wagner
Performer: Karl Ridderbusch (Bass), Frieder Stricker (Tenor)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 7 Minutes 28 Secs.

51. Die Meistersinger von Nurnberg: Wahn! Wahn! Uberall Wahn! by Richard Wagner
Performer: Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 7 Minutes 24 Secs.

52. Die Meistersinger von Nurnberg: Die "selige Morgentraum-Deutweise" sei sie genannt by Richard Wagner
Performer: Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 0 Minutes 48 Secs.

53. Die Meistersinger von Nurnberg: Selig wie die Sonne (Quintet) by Richard Wagner
Performer: Jean Cox (Tenor), Anna Reynolds (Alto), Karl Ridderbusch (Bass),
Frieder Stricker (Tenor)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 4 Minutes 27 Secs.

54. Die Meistersinger von Nurnberg: Wach' auf, es nahet gen den Tag by Richard Wagner
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1862-1867; Germany
Length: 2 Minutes 26 Secs.

55. Die Meistersinger von Nurnberg: Morgenlich leuchtend by Richard Wagner
Performer: Hannelore Bode (Soprano), Jean Cox (Tenor), Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1867; Germany
Length: 7 Minutes 13 Secs.

56. Die Meistersinger von Nurnberg: Verachtet mir die Meister by Richard Wagner
Performer: Karl Ridderbusch (Bass)
Conductor: Silvio Varviso
Orchestra/Ensemble: Bayreuth Festival Chorus, Bayreuth Festival Orchestra
Period: Romantic
Written: 1868; Germany
Length: 6 Minutes 4 Secs.

57. Parsifal: Act 1 Prelude by Richard Wagner
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 16 Minutes 24 Secs.

58. Parsifal: Vom Bade kehrt der Konig heim by Richard Wagner
Performer: Peter Hofmann (Tenor), Hans Sotin (Bass)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 2 Minutes 21 Secs.

59. Parsifal: Transformation Scene by Richard Wagner
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Bayreuth, Germany
Length: 4 Minutes 3 Secs.

60. Parsifal: Zum letzten Liebesmahle by Richard Wagner
Performer: Hans Sotin (Bass)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Germany
Length: 8 Minutes 31 Secs.

61. Parsifal: Wehevolles Erbe, dem ich verfallen by Richard Wagner
Performer: Simon Estes (Bass), Hans Sotin (Bass)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Germany
Length: 9 Minutes 19 Secs.

62. Parsifal: Komm! Holder Knabe! (Flowermaidens' Scene) by Richard Wagner
Performer: Peter Hofmann (Tenor)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Bayreuth, Germany
Length: 4 Minutes 49 Secs.

63. Parsifal: Parsifal! Weile! by Richard Wagner
Performer: Peter Hofmann (Tenor), Waltraud Meier (Mezzo Soprano)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Germany
Length: 2 Minutes 42 Secs.

64. Parsifal: Gesegnet sei, du Reiner, durch das Reine! by Richard Wagner
Performer: Hans Sotin (Bass), Peter Hofmann (Tenor)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 4 Minutes 55 Secs.

65. Parsifal: Wie dunkt mich doch die Aue heut so schon! "Good Friday Music" by Richard Wagner
Performer: Peter Hofmann (Tenor), Hans Sotin (Bass)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 4 Minutes 0 Secs.

66. Parsifal: Du siehst, das ist nicht so by Richard Wagner
Performer: Hans Sotin (Bass), Peter Hofmann (Tenor)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 7 Minutes 18 Secs.

67. Parsifal: Nur eine Waffe taugt by Richard Wagner
Performer: Peter Hofmann (Tenor)
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra
Period: Romantic
Written: 1877-1882; Germany
Length: 4 Minutes 49 Secs.

68. Parsifal: Hochsten Heiles Wunder! by Richard Wagner
Conductor: James Levine
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus
Period: Romantic
Written: 1877-1882; Germany
Length: 5 Minutes 22 Secs.





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Ultimate Wagner - Essential Masterpieces [Box Set 5 CD] (2008) [320]





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ENJOY !!! XOXO !!! :p

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And my time is a piece of wax fallin' on a termite.... ( Beck - Loser )
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If You Want To Download one of my Posts, Do It As Soon AS Possible, PLZ [B]( Because It's Difficult For Me to Re-Up )

Woohoo! Just in time for my birthday! Thanks Yannis!

Happy Birthday my Friend ;) !!!

@smurf, this is your birthday? have a good one :)

and thanks Yannis, this will be a heavy Wagner-mean :D

Visit Bayreuth With A Downloads

This is a fantastic bargain, an overlooked 5-CD tour of Bayreuth from the Sixties (Karl Bohm's mid-decade Ring cycle) through the Seventies (Silvio Varviso's 1974 Meistersinger) to the Eighties (James Levine's 1985 Parsifal). The only outsider is Solti's studio Tristan und Isolde from Vienna with the young Birgit Nilsson in gleaming voice.

There's a special theatrical frisson to every excerpt, and even for experienced listeners who might not want to buy the parent sets from which these sizable chunks have been extracted, it's pure pleasure to hear all these performances. The live sonics, engineered originally by Decca dn Philips, are often amazingly fine and never less than good. In sum, a wonderful way to get to a festival that few of us are likely to experience in person.

Speaking of Wagner's dangerous.
We are doomed to be rather common.
So I decided to gather information about the Regents and orchestras that comprise this Wagner.
I hope not to bore anyone.

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Stars Very good Ring highlights by Arnar ~ Amazon

At first sight, this collection would seem like a good value for money. At first I was in doubt but now I think it is well worth the money depite the fact that the rendition of Tristan is not good at all. The renditions of Parsifal and the Meistersingers are by no means great but in fact they are very acceptable. The Ring highlights are great.

It is well known that Levine's tempo for Parsifal is overly slow and I don't think there is enough dramatic tension or beauty of phrasing there to compensate for the slow pace. The selection of highlights from Parsifal is also very questionable. However, this Parsifal is somehow enjoyable despite these shortcomings. So, it's ok.

Varviso's Meistersingers are not bad at all. The highlights comprise a very good selection from the opera. The singing could be better but it's by no means poor. The main shortcoming is probably the tempo adopted by Varviso. I find the pace too fast which reduces the grace in this music.

Solti's Tristan is pretty unimpressive. Solti at his worst.

The B�hm Ring recordings included in the set are excellent in my view, the pace and the dramatic undercurrents are perfectly shaped by B�hm, the singing is very good and the ever important sound balance between the orchestra and the singers is excellent. The sound quality of the Ring highlights are in other respects really good.


Performers

Orchestras & Chorus

The Bayreuth Festival Orchestra / Das Bayreuther Festspielorchester

The Bayreuth Festival Orchestra consists of members from many orchestras, mostly German. These musicians are highly motivated, and use their holiday to perform Wagner's music dramas.
Most of the orchestra member come from these orchestras:
Bamberger Symphoniker – Bayerische Staatsphilharmonie
College of Music
Deutsches Symphonie-Orchester Berlin
Duisburger Philharmoniker
D�sseldorfer Symphoniker
Frankfurter Museumsorchester
Gewandhausorchester Leipzig
G�rzenich-Orchester K�ln
Hessisches Staatsorchester Wiesbaden
Hochschule f�r Musik N�rnberg/Augsburg
Hochschule f�r Musik und darstellende Kunst Frankfurt
hr-Sinfonieorchester Frankfurt
Konzerthausorchester Berlin
M�nchner Philharmoniker
Nationaltheater-Orchester Mannheim
NDR Radio-Philharmonie Hannover
NDR Sinfonieorchester Hamburg
Nieders�chsisches Staatsorchester Hannover
Orchester der Deutschen Oper Berlin
Orchester der Komischen Oper Berlin
Orchester des Staatstheaters am G�rtnerplatz M�nchen
Orchestre de Paris
Philharmonisches Orchester der Staatstheater Mainz
Philharmonisches Staatsorchester Hamburg
Radio-Sinfonieorchester Stuttgart des SWR
Robert-Schumann-Hochschule D�sseldorf
Robert-Schumann-Philharmonie Chemnitz
Rundfunk-Sinfonieorchester Berlin
Rundfunk-Sinfonieorchester Saarbr�cken
Stuttgarter Kammerorchester
Stuttgarter Philharmoniker
Staatskapelle Berlin
Staatskapelle Weimar
Staatsphilharmonie Rheinland-Pfalz Ludwigshafen
Staatstheater N�rnberg
Symphonieorchester des Bayerischen Rundfunks M�nchen
S�chsische Staatskapelle Dresden
WDR Rundfunkorchester K�ln
WDR Sinfonieorchester K�ln
W�rttembergisches Staatsorchester Stuttgart


Bayreuth Festival singers

Graham Clark
Johanna Meier
Anne Evans

Bayreuth Festival Orchestra & Chorus Bayreuth

Bayreuth Festival Orchestra & Chorus Bayreuth is a town in northern Bavaria most famous as the site of the annual Richard Wagner Festival in the theater designed to the composer's specification.
Wagner, exiled from Germany since his participation in the 1848 Revolutions, was allowed to return by King Ludwig II of Bavaria, a hero-worshipper of Wagner. When some distance had opened between the King and the master musician, Wagner decided to site the festival within Ludwig's Bavarian realm but not his capital city of Munich. Wagner went to Bayreuth to assess the old Margrave's Theater (finished in 1748) as a potential site. He found the theater unsuitable for his purposes, but liked the town, and designed his own theater.
With money from public subscriptions, a shortfall being made up by King Ludwig, Wagner's Festival Theater had a unique design, especially its covered orchestra pit. The resulting sound is distinctive: warm, romantic, and blended, with the brass softened. The Festival was inaugurated with the complete Ring of the Nibelungen in 1876. The first (and only) Wagner opera written specifically for Bayreuth was Parsifal, premiered at the second Wagner Festival (1882).
Then, as now, the orchestra for the Festival was assembled each year for that season's summer productions. The chorus for 1882 was loaned from the Munich Court Opera, but subsequently the chorus was also hired for each season. There is considerable continuity in membership of both from year to year, and a strong tradition and sound developed by generations of the world's greatest conductors.
After Wagner's death, his widow, Cosima (Franz Liszt's daughter), took over control, ruling with an iron attachment to tradition until 1906, when she turned control over to her son Siegfried Wagner, who at his mother's insistence did not include his own operas in the Festival. Siegfried and Cosima both died in 1930. Siegfried's English-born widow, Winifred, took over.
Winifred was a notorious worshipper of Adolf Hitler, and happily acquiesced in Bayreuth becoming something of a Nazi shrine. Wartime damage to the theater and her politics prevented the Festival, closed in 1944, could not reopen until a way was found to get her (legally the Festival's sole owner) completely out of any role in it.
In 1951 a deal was struck whereby her sons, Wieland (1917-1966) and Wolfgang (b. 1919) leased the theater from her, with Wieland as Artistic Director. He initiated a period of staging innovation. Wolfgang, succeeding him in 1966, was less radical artistically but undertook structural repairs of the building.
In 1973 the Wagner family gave up ownership to the newly created Richard Wagner Foundation Bayreuth, governed by a board including four Wagners as members. Wolfgang received a lifetime contract as festival director under a charter that grants the festival director total artistic control. Under the deal, the trustees were to give "preference" to members of the Wagner clan as future directors.
The deal was not tested until 2000, when an open struggle for the control of the future of Bayreuth developed among four Wagners. Wolfgang hinted he would step down if his second wife, Gudrun, were named, but vowed to stay on until death if his the board named his niece Nike Wagner (who had a liberal agenda for Bayreuth, including playing of Siegfried Wagner's operas and admission of works by non-Wagners). Wolfgang's daughter by his first marriage, Eva Wagner Pasquier, was chosen on June 5, 2000.
Wolfgang's reaction was mixed: "Spirit and phrasing of the founding document [of the Foundation] will thus be fulfilled.
We can abide by it [the nomination] for the time being." He also warned that he was not about to step down soon.


Vienna Philharmonic Orchestra

The Vienna Philharmonic (VPO; in German: Wiener Philharmoniker), founded in 1842, is an orchestra, regularly considered one of the finest in the world.
The VPO is based in the Musikverein in Vienna. The members of the orchestra are chosen from the orchestra of the Vienna State Opera. This process is a long one, with each musician having to prove his or her capability for a minimum of three years' playing for the opera and ballet. Once this is achieved the musician can then ask the board of the Vienna Philharmonic to consider an application for a position in the orchestra.

History

The forerunner of the Vienna Philharmonic was the [[Lang|de|K�nstlerverein}} – an orchestra formed in 1833 by Franz Lachner, consisting of professional musicians from the Vienna Court Opera (Wiener Hofoper, now the Vienna State Opera); it gave four concerts, each including a Beethoven symphony.[4] The Vienna Philharmonic itself arose nine years later, in 1842, hatched by "a group who met regularly at the inn 'Zum Amor' [including] the poet Nikolaus Lenau, [newspaper editor] August Schmidt, [critic] Alfred Becker, [violinist] Karlz Holz, Count Laurecin, and Otto Nicolai" (the composer, also the principal conductor of a standing orchestra at a Viennese theater).[4] Mosco Carner wrote in The New Grove Dictionary of Music and Musicians that "Nicolai was the least enthusiastic about the idea, and had to be persuaded by the others; he conducted the first [concert] on 28 March 1842."[4] The orchestra was fully independent, consisted of members of the Hofoper orchestra, and made all of its decisions by a democratic vote of its members; it had its day-to-day management handled by a democratically elected body, the administrative committee.[5] The orchestra still follows these principles today.
Nicolai and the orchestra gave only 11 concerts in the ensuing five years, and when Nicolai left Vienna in 1847, the orchestra nearly folded (New Grove notes the disruption caused by the Revolution of 1848 as a hindrance). Between 1854 and 1857 Karl Eckert – the first permanent conductor of the Vienna Court Opera (Wiener Hofoper, now the Vienna State Opera – led the (associated) Vienna Philharmonic in a few concerts. In 1857, Eckert was made Director of the Hofopera – the first musician to have been given the post) Still, in 1860, he conducted four subscription concerts of the Vienna Philharmonic, and since then, the orchestra has given concerts continuously.
From 1860 to 1878, Otto Dessoff served as permanent conductor. During Dessoff's tenure, Johannes Brahms conducted the premiere of his Variations on a Theme by Haydn. Next, from 1875 to 1898, Hans Richter was subscription conductor, except for the season 1882/1883 when he was in dispute with the orchestral committee. During Richter's tenure, the orchestra gave the premieres of the 2nd and 3rd symphonies of Johannes Brahms, and the 3rd symphony and 8th symphony of Anton Bruckner.
Gustav Mahler held the post from 1898 to 1901 (he remained director of the associated Hofoper until 1907); under his baton the Vienna Philharmonic played abroad for the first time at the 1900 Paris World Exposition. Subsequent conductors were Joseph Hellmesberger, Jr., followed by Felix Weingartner from 1908 until 1927, Wilhelm Furtw�ngler for one season (1927/28), and finally, Clemens Krauss (1929–33).

Vienna Philharmonic at the rehearsal, Felix Weingartner is conducting. Engraving by Ferdinand Schmutzer (1926) Since 1933, the orchestra has had no single subscription conductor, but according to New Grove (vol. 19, p. 723), "between 1933 and 1938, Bruno Walter and Wilhelm Furtw�ngler shared the Philharmonic concerts between them, and during the Nazi period Furtw�ngler was the permanent conductor"; by contrast, the Vienna Philharmonic's website history says, "Furtw�ngler was in actuality the main conductor of the orchestra from 1933 to 1945, and again from 1947 to 1954." (After the war, Furtw�ngler did not conduct until being cleared by denazification trials in April, 1947.) In support of New Grove's assertion of Walter's role, it might be noted that he made Vienna his home from 1933 until 1938 (after being driven from Germany by the Third Reich), was Artistic Director of the Vienna State Opera from 1936-38, and conducted the Vienna Philharmonic frequently, making a number of major recordings with the orchestra (including Richard Wagner's Die Walk�re act 1 and parts of act 2, the first recording of Mahler's Das Lied von der Erde and Mahler's Symphony No. 9, symphonies by Haydn, Mozart, Beethoven, and Brahms, overtures of Beethoven and Brahms, and concertos of Beethoven and Mozart) and taking the orchestra on tour to England and France in 1935.
In the postwar era, scores of the world's best-known conductors have led the orchestra. Among them were not only Walter and Furtw�ngler but also Richard Strauss, Hans Knappertsbusch, John Barbirolli, Carlo Maria Giulini,Erich Kleiber, James Levine, Zubin Mehta, Carlos Kleiber, Fritz Reiner, Georg Solti, Claudio Abbado, Riccardo Muti, Nikolaus Harnoncourt, Pierre Boulez, Lorin Maazel, Mariss Jansons, Daniel Barenboim, and Valery Gergiev. Three conductors, however, had special associations with the orchestra in the later 20th century: Herbert von Karajan and Karl B�hm, who were made honorary conductors, and Leonard Bernstein, who was made an honorary member of the orchestra. The orchestra made their first US tour in 1956 under the batons of Carl Schuricht and Andr� Cluytens.
Each New Year's Day since 1 January 1941, the VPO has sponsored the Vienna New Year's Concerts, dedicated to the music of the Strauss family composers, and particularly that of Johann Strauss II; the first such concert was given on December 31, 1939 by Clemens Krauss (see below, "#Period under National Socialism"), and led subsequent concerts on New Year's Day from 1941 until 1945. The postwar concerts were inaugurated by Josef Krips. They were led by concertmaster Willi Boskovsky from 1955–1979, and since 1980 have been led by a variety of leading conductors invited by the orchestra.



Conductors

Norbert Balatsch

Norbert Balatsch (born 10 March 1928, Vienna) is an Austrian conductor and chorus master. He began his career as a baritone in the opera chorus of the Vienna State Opera. He eventually became the long term chorus master at that house and for many years was the chorus master of the Bayreuth Festival. He has prepared choruses for numerous recordings, two of which have won Grammy Awards. He is currently the chorus master of the Coro dell'Accademia Nazionale di Santa Cecilia.
In the early 1970s, Professor Balatsch (whose surname is sometimes spelt Balaatsch) was the Chorus Master of the (then) New Philharmonia Chorus, which was previously and later known as simply the Philharmonia Chorus.

Karl B�hm

Karlheinz B�hm or Karl August Leopold B�hm (born 16 March 1928 in Darmstadt), sometimes referred to as Carl Boehm or Karl Boehm, is an Austrian actor and the only child of soprano Thea Linhard and conductor Karl B�hm. B�hm took part in 45 films and became famous in Germany for his role as Emperor Franz Joseph I of Austria in the Sissi trilogy and internationally for his role as Mark, the psychopathic protagonist of Peeping Tom, directed by Michael Powell. He is the founder of the trust Menschen f�r Menschen (“Humans for Humans”), which helps people in need in Ethiopia. He also received the Ethiopian honorary citizenship in 2003.

Having two citizenships, he sees himself as a world citizen: His father was born in Graz, his mother in Munich and today he lives in Gr�dig near Salzburg. He spent his youth in Darmstadt, Hamburg and Dresden. In Hamburg he attended elementary school and the Kepler-Gymnasium (a grammar school). A faked medical certificate enabled him to emigrate to Switzerland in 1939, where he attended the Lyceum Alpinum Zuoz, a boarding school. In 1946, he moved to Graz with his parents, where he graduated from high school the same year. He originally intended to become a pianist but received poor feedback when he auditioned. His father urged him to study English and German language and literary studies, followed by studies of history of arts for one semester in Rome after which he quit and returned to Vienna to take acting lessons with Prof. Helmut Krauss. From 1948 to 1976 he worked as a successful actor in about 45 films and also in theatre. With Romy Schneider, he starred in the Sissi trilogy as the Emperor Franz Joseph which limited him to one specific genre as an actor.
He made three notable U.S. films in 1962. He played Jakob Grimm in the 1962 MGM-Cinerama spectacular The Wonderful World of the Brothers Grimm and Ludwig van Beethoven in the Walt Disney film The Magnificent Rebel. (The latter film was made especially for the Disney anthology television series, but was released theatrically in Europe.) He appeared in a villainous role as the Nazi-sympathizing son of Paul Lukas in the MGM film Four Horsemen of the Apocalypse, a Technicolor, widescreen remake of the 1921 silent Rudolph Valentino film.
Between 1974 and 1975, B�hm appeared prominently in four consecutive films from prolific New German Cinema director Rainer Werner Fassbinder: Martha, Effi Briest, Faustrecht der Freiheit (aka Fistfight of Freedom or Fox and His Friends), and Mutter K�sters' Fahrt zum Himmel (Mother K�sters' Trip to Heaven).
Bohm's voice acting work has included narrating his father's 1975 recording of Peter and the Wolf by Prokofiev and in 2009 as the German voice for Charles Muntz, villain in Pixar's tenth animated feature Up.
Since 1981, when he founded Menschen f�r Menschen ("Humans for Humans"), B�hm has been actively involved in charitable work in Ethiopia, for which in 2007 he was awarded the Balzan Prize for Humanity, Peace and Brotherhood among Peoples.
Karlheinz B�hm has been married to Almaz B�hm, a native of Ethiopia, since 1991. They have two children, Nicolas (born 1990) and Aida (born 1993). B�hm has five more children from previous marriages, among them, the actress Katharina B�hm (born 1964). In 2011 Almaz and Karlheinz B�hm were awarded the Essl Social Prize for the project Menschen f�r Menschen.

James Levine

James Lawrence Levine (born June 23, 1943) is an American conductor and pianist. He is best known for his four decades as Music Director of the Metropolitan Opera. Since May 2011 he has been on hiatus from that position due to multiple health problems. He is scheduled to return in May 2013.
Levine's first performance conducting the Metropolitan Opera was on June 5, 1971, and, as of May 2011, he had conducted 2,442 Met performances, a record. The conductor has also held music director positions with the Boston Symphony Orchestra, the Munich Philharmonic and the Ravinia Festival. In 1997, he was awarded the National Medal of Arts.

Levine was born in Cincinnati, Ohio, to a musical family: his maternal grandfather was a cantor in a synagogue, his father was a violinist who led a dance band, and his mother was an actress. He began to play the piano as a small child. At the age of 10, he made his concert debut as soloist in Felix Mendelssohn's Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra.
Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, Vermont. In the following year he began studies with Rosina Lh�vinne at the Aspen Music School. After graduating from Walnut Hills High School, the acclaimed magnet school in Cincinnati, he entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964 and joined the American Conductors project connected with the Baltimore Symphony Orchestra.
From 1964 to 1965, Levine served as an apprentice to George Szell with the Cleveland Orchestra and then served as assistant conductor until 1970. That year, he also made his debut as guest conductor with the Philadelphia Orchestra at its summer home at Robin Hood Dell. He made his debut in that same year with the Welsh National Opera and the San Francisco Opera. In June, 1971, he was called in at the last moment to substitute for an ailing Istv�n Kert�sz[3] in the season opener of the Chicago Symphony Orchestra's summer festival, the Ravinia Festival; the program was the Symphony no. 2, "Resurrection," of Gustav Mahler. This concert began a long association with the Chicago Symphony Orchestra: two years later, in 1973, he was appointed music director of the Ravinia Festival (his predecessor in this position was Kert�sz, who had died in April). Levine held the position until 1993, and made numerous recordings with the orchestra, including the symphonies and German Requiem of Johannes Brahms, and major works of Gershwin, Holst, Berg, Beethoven, Mozart, and others. In 1990, at the request of Roy E. Disney, he arranged the music and conducted the Chicago Symphony Orchestra in the soundtrack of Fantasia 2000, released by Walt Disney Pictures. He also served as music director of the Cincinnati May Festival (1974–1978).
Levine's Boston Symphony contract limited his guest appearances with American orchestras but Levine has conducted regularly in Europe, with the Vienna Philharmonic, Berlin Philharmonic, and at the Bayreuth Festival. Levine has been a regular guest with the Philharmonia of London and the Dresden Staatskapelle. Since 1975 he has conducted regularly at the Salzburg Festival and the annual July Verbier Festival. From 1999 to 2004 he was chief conductor of the Munich Philharmonic, and was credited with improving the quality of instrumental ensemble during his tenure.

]Georg Solti

Sir Georg Solti, (21 October 1912 – 5 September 1997) was an orchestral and operatic conductor, best known for his appearances with opera companies in Munich, Frankfurt and London, and as a long-serving music director of the Chicago Symphony Orchestra. Born in Budapest, he studied there with B�la Bart�k, Leo Weiner and Erno Dohn�nyi. In the 1930s, he was a r�p�titeur at the Hungarian State Opera and worked at the Salzburg Festival for Arturo Toscanini. His career was interrupted by the rise of the Nazis, and because he was a Jew he fled the increasingly restrictive anti-semitic laws in 1938. After conducting a season of Russian ballet in London at the Royal Opera House he found refuge in Switzerland, where he remained during the Second World War. Prohibited from conducting there, he earned a living as a pianist.
After the war, Solti was appointed musical director of the Bavarian State Opera in Munich in 1946. In 1952 he moved to the Frankfurt Opera, where he remained in charge for nine years. He took West German citizenship in 1953. In 1961 he became musical director of the Covent Garden Opera Company, London. During his ten-year tenure, he introduced changes that raised standards to the highest international levels. Under his musical directorship the status of the company was recognised with the grant of the title "the Royal Opera". He became a British subject in 1972.
In 1969 Solti was appointed music director of the Chicago Symphony Orchestra, a post he held for 22 years. He restored the orchestra's reputation after it had been in decline for most of the previous decade. He became the orchestra's music director laureate on his retirement in 1991. During his time with the Chicago orchestra, he also had shorter spells in charge of the Orchestre de Paris and the London Philharmonic Orchestra.
Known in his early years for the intensity of his music making, Solti was widely considered to have mellowed as a conductor in later years. He recorded many works two or three times at various stages of his career, and was a prolific recording artist, making more than 250 recordings, including 45 complete opera sets. The most famous of his recordings is probably Decca's complete set of Wagner's Der Ring des Nibelungen, made between 1958 and 1965. It has twice been voted the greatest recording ever made, in polls for Gramophone magazine in 1999 and the BBC's Music Magazine in 2012.

Silvio Varviso

Silvio Varviso (26 February 1924 – 1 November 2006) was a Swiss conductor who spent most of his career devoted to conducting operas. He began his conducting career working in minor opera houses in Switzerland in the mid-1940s. He became the principal conductor of the opera house in Basel in 1956 where he served for six years. In the late 1950s he began appearing with major opera houses on the international stage as a guest conductor. During the 1960s he became a fixture at the Metropolitan Opera in New York City and at the Royal Opera House in London. In 1965 he became the music director of the Royal Swedish Opera, and later in his career served as the music director of the Staatsoper Stuttgart and the Paris Opera. During the early 1990s he became a permanent guest conductor at the Vlaamse Opera where he remained active up until his death.

...I hope not to bore anyone....
On the contrary, thanks for great sharing of knowledge and facts. I am not familiar with this particular 5 discs Decca's Wagner compilation and my first thought was "why Decca have not used their famous Solti's Ring recordings". So your post beautifully explain why. Yannis thanks for this interesting share.

been looking for such a compliation. Thanks Yannis!

Thanks!

I have always loved Wagner!!!


Thank You very much!

Scott

What�s not to like!! Great Post!

beautiful post, Yannis! getting this now

Thank you share!

very nice of you to share that. thank you, Yannis

Thank, Yannis.

Great!
Thank you, Yanni.

Yannis, i love you, guy. but Wagner...

Wagner - what a genius!

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