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Klaus Florian Vogt: Helden
Klaus Florian Vogt is Bayreuth´s leading tenor – he has a unique voice, perfect technique and last but not least the perfect look for a leading man in the works of Wagner.
He had a triumphant breakthrough success as "Lohengrin" at the world famous Bayreuth Wagner festival in the Summer of 2011. Major media acclaimed his singing as "the third wonder of Bayreuth" and the "...best Lohengrin ever".
Klaus Florian Vogt sings in all major opera houses of the world. In 2012, he will star in new productions in Tokyo (Lohengrin), Munich (Valkyrie) and Barcelona (Florentine Tragedy). He will also feature in roles at Bayreuth.
Helden ("Heroes") is Vogt´s first album for Sony Classical, where he is exclusively signed, and is his first recital recording. The CD shows major pieces linked with him, of course Wagner and the famous "Grahlserzählung" in Lohengrin, but there are also beautiful arias by Weber, Flotow, Korngold and Lortzing – and last not least also by Mozart.
“his Siegmund, naive and ecstatic rather than virile and forceful, is striking. Vogt's vocal ease and cleanness of line is appealing in Weber and Wagner, and he proves an accomplished, elegant Mozartian.” The Guardian, 12th April 2012 ***
“Vogt has an attractive if slender voice, and for him to sing on this album called Heroes seems a bit odd, since he is more suited to tender regrets than to thrilling outbursts of tone. He shows a Lieder singer's sensitivity to words, and is almost ideally suited to Lohengrin's narration, perhaps the high-point of his recital.” BBC Music Magazine, July 2012 ***
“[Vogt] offers the gentlest presentation of [Siegmund's] music that I've heard, and notably touching it is. He impresses even more with Lohengrin's narrative, where stage experience pays dividends...Vogt phrases exquisitely, and though the gentleness of sound is again evident, the strength of the character's convictions throughout is clear.” International Record Review, July/August 2012
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Europa Konzert 2010 from Oxford
Recorded live at Sheldonian Theatre, Oxford, 1 May 2010
For over 20 years, the Berliner Philharmoniker have celebrated their foundation on May 1st with the annual Europa Konzert - this year’s concert takes place in Oxford. The orchestra, under the baton of worldwide renowned musician Daniel Barenboim, welcome cellist Alisa Weilerstein who has attracted widespread attention for playing that combines natural virtuoso command and technical precision with impassioned musicianship.
'Daniel Barenboim´s programme played to the orchestra's strengths, and the sound was sumptuous. The plush strings and refulgent brass permitted him to unfold the introspective third-act prelude to Wagner's Die Meistersinger with glacial slowness, while the energy that pulsed through Brahms's First Symphony, its phrases sculpted in great expressive arcs with every detail and woodwind solo thrillingly realised, was irresistible. Between the prelude and the symphony, Barenboim conducted the young American cellist Alisa Weilerstein in Elgar's Cello Concerto … Barenboim's approach was refreshingly un-English, a bonus in Elgar, and the sound of the orchestra in the climaxes was overwhelming.' Guardian
Picture format DVD: NTSC 16:9
Sounds formats DVD: PCM Stereo, DD 5.0, DTS 5.0
Region code: 0
Booklet notes: English, German, French
Running time: 83 mins
“There's no old man's regret in [Weilerstein's] performance, which is passionate and full-blooded, and shot through with grief and longing rather than any nostalgia...Barenboim has always been an excellent Brahmsian...and he rounds the concert off with a richly satisfying account of the First Symphony. No real surprises, but not far from perfection” BBC Music Magazine, January 2011 *****
“The young American cellist Ailsa Weilerstein simply steals the show. Her musicianship is absolutely stunning. She captures a perfect balance between introversion and songfulness, sensitivity and whimsy, seemingly at one with the music...The filming captures the event's rapt atmosphere, if a bit busily.” Classic FM Magazine, June 2011 ****
“[The Elgar] is gripping from the very start...[Weilerstein] never holds back and takes some impressive risks, perhaps inspired by an accompaniment that convinces me, for the time, of the Berlin Philharmonic being the finest orchestra for Elgar, as well as for everything else.” Gramophone Magazine, August 2011
“[In the Brahms and Wagner] the Berliners' majestic playing is deeply impressive, their timbral and intonational blend bordering on the miraculous...playing at this level of achievement still has the power to have one shaking one's head in disbelief at its sheer expertise...[Weilerstein] plays with compelling flair and understanding” International Record Review, January 2012
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Wagner: Overtures & Preludes
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Hans Knappertsbusch conducts Wagner
‘It’s Wagner’s opera: let’s present him and not ourselves!’ This remark by Hans Knappertsbusch to Hans Hotter as the singer was about go on stage as Gurnemanz at Bayreuth in 1964 was characteristic of the conductor’s attitude. Singers’ egos, directors’ concepts and designers’ flights of fancy had no place in the Knappertsbusch vision of Wagner’s stage works. Indeed, after his second season at ‘New Bayreuth’, he told Wieland Wagner: ‘As soon as the spirit of Richard Wagner moves back into the Festspielhaus, I shall be the first to return’. And yet it would be hard to find a more flexible and spontaneous exponent of the conductor’s art than Hans Knappertsbusch, or ‘Kna’ as his friends and colleagues called him. No two of his performances were alike, which made him a difficult conductor to ‘capture’ in the clinical environment of the recording studio. He was notoriously averse to rehearsals, preferring to take inspiration from the moment when everything came together in the crucible of a live performance in the theatre or concert hall. Frequently the result was magnificent as this collection is testament to.
This collection brings together the bulk of his Wagner orchestral recordings for Decca (with the Wiener Philharmoniker), with scenes from Parsifal with members of the Wiener Staatsopernchor and the ‘Forest Murmurs’ from Siegfried with Franz Lechleitner in the title role – in all, more than two-and-a-half hours of music recorded for Decca between 1950 and 1959. Australian Wagner scholar Peter Bassett contributes the illuminating notes for this release.
Knappertsbusch died in October 1965 in Munich, following a fall at his home. In a long musical life, he explored the works of the great classical composers with intelligence and imagination; but, as he himself said, it was to Wagner’s music dramas that he devoted ‘his most and his deepest’.
“I must praise the mellow quality of the brass … and the lovely cantabile of the strings, and above all the way in which, without exaggeration, Knappertsbusch captures the mystical mood of the Prelude. […] The voices are placed in excellent perspective and Günther Treptow makes a good Parsifal.” Gramophone Magazine (Parsifal)
“He always allows Wagner’s music to unroll at its own natural pace, never forces or drives it. One hears details that one had never noticed in the score. And when it comes to a climax, then none can rival Knappertsbusch’s magnicently rich, resonant, clear, spacious recording, which has the incidental advantages of demonstrating superb orchestral playing and Wagner conducting as fine as one can hope to hear … Nothing seems to get lost in those massive climaxes” Gramophone Magazine (Tannhäuser, Fliegende Holländer, Walküre)
“…the Götterdämmerung excerpts are most beautifully played with an abundant degree of warmth and a moderate degree of savagery where these qualities are called for […] the beauty of sound … is incontestable” Gramophone Magazine
“the glorious playing of the Vienna Philharmonic” Gramophone Magazine (Tristan)
Scheduled for release on 15 July 2013. Order it now and we will deliver it as soon as it is available.
Wagner: Opera Excerpts
Wagner is the giant among composers by reason of the fact that he created his own world. Whereas others interpreted ancient and familiar mythology, Wagner created his own myth. Whereas others composed to librettos by poets, Wagner wrote his own texts. He even built his own opera house, which had to be different and innovative. Wagner was the greatest creative genius in music history.
And yet this superhuman giant also had a sense of humour, clearly audible in the wonderfully constructed Meistersinger overture. And he created intimate, sensitive lyricism, which moves us deeply in his Siegfried-Idyll. This lyricism is the most important aspect of Wagner's music: Brünnhilde's beautiful, longing melody which shines through the huge flame that absorbs both her and the collapsing world.
Iván Fischer (from liner notes)
Scheduled for release on 10 June 2013. Order it now and we will deliver it as soon as it is available.
Wagner: Wesendonck-Lieder, Siegfried-Idyll & Overtures
In June 2013 the Swedish Chamber Orchestra under the expert direction of Thomas Dausgaard are joined by one of today's foremost Wagner singers. Named 'Singer of the Year' by Opernwelt magazine in 2012, Nina Stemme has been the Isolde of choice at Glyndebourne, Bayreuth and Covent Garden.
For this new release Nina performs the five Wesendonck-Lieder, of which two in particular, Im Treibhaus and Träume, were referred to by Wagner as 'studies' for Tristan and Isolde. Wagner himself prepared a version for violin and orchestra of Träume, and the ensemble includes this setting featuring principal violinist, Katarina Andreasson, as soloist.
The Wesendonck-Lieder are framed by two versions of the overture to Der fliegende Holländer, the rarely heard 1841 original version and the composer's final creation from 1860, with its new ending inspired by Tristan, composed three years earlier.
BIS - BIS2022
Scheduled for release on 3 June 2013. Order it now and we will deliver it as soon as it is available.