Richard Wagner

Studio recording, 1960

Studio recording, 1994

This selection of some of Wagner’s finest orchestral excerpts opens with the ‘storm-swept ballad’ of Der fliegende Holländer, the opera which launched his epoch-defining later masterpieces. The entire span of Der Ring des Nibelungen is represented in this programme, from the luminous rainbow bridge which leads the gods to Valhalla in Das Rheingold, the urgent drama of Die Walküre, and the atmospheric repose of the Forest Murmurs in Siegfried, to the tragic depths of Siegfried’s Funeral March. This recording has been praised for its ‘radiant sensuousness’. (Gramophone) Volumes 2 and 3 in this series are available on 8572768 and 8572769.

The latest release in this unique Wagner edition. Previously, Parsifal was BBC Music Magazine’s recording of the Month; “… spontaneity of something which has sunk so deeply into the performers’ minds and souls that they can throw caution to the wind.”

Both audiences and the press have been impressed by the outstanding perfomances in Frankfurt Opera’’s Ring Cycle. “Weigle’s great virtue is his connection to the stage.” IRR. The cycle is now complete and Götterdammerung will follow shortly.

Born in 1911, the French baritone Michel Dens had a long and successful career.

His early career was in the world of opera but he later sang in many operettas.

This collection includes arias which he perfomed at an event given in his honour in Marseilles in 1986.

If anyone may lay claim to the title of prima donna assoluta of the late 20th century, it is surely Jessye Norman. She is one of the great communicators. Whether in the intimate setting of the Wigmore Hall in London, or the huge space of the Metropolitan Opera House, New York, she can give each listener the sense that her song is directed straight at them. Jessye Norman was born in Augusta, Georgia, in 1945. She studied at Howard University, the Peabody Conservatory and the University of Michigan. In 1968 she won the Munich International Music Competition, and this led to an invitation to sing in Berlin at the Deutsche Oper, where she made her debut as Elisabeth in Wagner's Tannhäuser. After that her career blossomed and she went on to conquer the world’s greatest opera houses including La Scala in Milan and the Metropolitan in New York. One of her greatest triumphs in New York was in 1982, in Robert Wilson's Great Day in the Morning, and in 1989 she was invited to sing the Marseillaise for the 14 July celebrations in the Place de la Concorde.

The music on these CDs presents a cross-section of Jessye Norman's repertory, in German and French opera, in Lieder and mélodie, in oratorio and even operetta. Since Wagner's Tannhäuser provided Jessye Norman with her first stage role, it is appropriate to begin with two arias from that opera. Senta's ballad from Der fliegende Holländer tells the story of the Flying Dutchman, who is condemned to sail the seas for eternity unless he can find a woman who will remain faithful unto death. The Wesendonck- Lieder were composed by Wagner in 1857–8 as a tribute to Mathilde Wesendonck, the wife of his friend Otto; particularly in 'Im Treibhaus' and 'Träume', they look forward to Tristan und Isolde. The three Schubert songs, and the solo from Brahms's German Requiem, bring the German part of the programme to a rapturous conclusion.

From Offenbach’s Les Contes d’Hoffmann Jessye Norman sings the role of Giulietta, a Venetian courtesan, who ruins the hero, Hoffmann, by urging him to take part in a duel, and then in a symbolic gesture demands from him the ultimate sacrifice – the gift of his reflection. 'The face that launched a thousand ships' – Helen of Troy in La Belle Hélène – is another kind of temptress, and shows the full extent of Norman's comic gifts. In the song cycles by Ravel and Poulenc we glimpse a different side of the artist. La Fraîcheur et le feu was composed in 1950 for the baritone Pierre Bernac, Poulenc's greatest interpreter; in the 1960s, Bernac gave many master-classes covering the whole world of French song, and Jessye Norman was one of his students. The poems set are entitled Vue donne vie (‘Sight gives life'), but Poulenc asked the author, Paul Eluard, to give him a new title for the song-cycle. 'Unis la fraîcheur et le feu' is the opening line of the fifth song: 'Unite the coolness and the fire'. That is exactly what Jessye Norman has always done, and – in Bernac's words – she has done it with 'profound humanity'.