Wagner: Die Meistersinger von Nürnberg: Prelude to Act 3

This page lists all recordings of Die Meistersinger von Nürnberg: Prelude to Act 3, by Richard Wagner (1813-83) on CD, SACD, DVD, Blu-ray & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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James Rutherford sings Wagner

James Rutherford sings Wagner


Wagner:

Der fliegende Holländer: Overture

Die Frist ist um (from Der fliegende Holländer)

Blick ich umher in diesem edlen Kreise (from Tannhäuser)

Wie Todesahnung...O du, mein holder Abendstern (from Tannhäuser)

Du fürchterliches Weib! (from Lohengrin)

Was duftet doch der Flieder (from Die Meistersinger von Nürnberg)

Die Meistersinger von Nürnberg: Prelude to Act 3

Wahn! Wahn! Überall Wahn! (from Die Meistersinger von Nürnberg)

Ja, wehe! Wehe! Weh über mich! (from Parsifal)

Leb wohl, du kühnes, herrliches Kind! (from Die Walküre)


From pillars of society to shunned outcasts, the baritone and bass-baritone roles in Richard Wagner’s operas span from Hans Sachs, shoemaker/poet and Nuremberg’s voice-of-reason, to the Flying Dutchman, tortured forever by past sins. Whether their function in the over-all drama is as a foil to the main character – like the knight Wolfram von Eschenbach, Tannhäuser’s eternally loyal supporter – or, like Wotan in the Ring, as a linchpin of the entire dramatic argument, they are all memorable as individuals, and have as such been endowed by their creator with music of great individuality and expressivity. Following his acclaimed recital of English songs, Most Grand to Die (BIS-1610), James Rutherford now gives us a grand tour of Wagner-land, ranging from the three operas that ‘made’ Wagner – Der fliegende Holländer, Tannhäuser and Lohengrin – to Parsifal, the composer’s final work, described by himself as ‘the last card’ he had to play. Winner of the first Seattle Opera International Wagner competition in 2006, Rutherford has since performed in a number of Wagner productions, and is something of the Hans Sachs of our day, having sung the part at the Bayreuth Festival (in 2010 and 2011), as well as at the Wiener Staatsoper, the Graz, Hamburg and Cologne Operas, the Budapest Wagner Festival and at the Glyndebourne Festival. He here receives the support of Bergen Philharmonic Orchestra under their music director Andrew Litton, himself a regular guest conductor at leading opera houses such as the Metropolitan Opera, the Royal Opera Covent Garden and Deutsche Oper Berlin.

“The Norfolk-born bass-baritone's voice, on this showing, is close to ideal - chocolate-dark and rich in tone, with a deceptive effortlessness and secutiry that shows up many more famous exponent. He approaches Hans Hotter's 'bel canto Wagner' ideal, but with incisively clear diction. His expressiveness isn't overdone or showy” BBC Music Magazine, July 2014 *****

“[Rutherford] remains virtually unknown in Britain’s opera houses. This recital shows what we are missing...Best of all are the Nuremberg cobbler’s two great monologues from Meistersinger, which sum up the character’s dignified warmth and humanity.” Financial Times, 14th June 2014 ****

“Rutherford's baritone, almost a bass-baritone, is dark, nutty brown in colour, and broad in its phrasing. He could afford to lighten his touch sometimes; but the deep seriousness of his Sachs, his warmth and generosity, come across impressively from his stage experience.” Gramophone Magazine, September 2014

Released or re-released in last 6 months

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BIS - BIS2080

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Wagner: Overtures and Preludes

Wagner: Overtures and Preludes


Wagner:

Die Feen: Overture

Christoph Columbus: Overture

Rienzi Overture

Das Liebesverbot Overture

Faust Overture, WWV59

Der fliegende Holländer: Overture

Lohengrin: Prelude to Act 3

Tristan und Isolde: Prelude to Act 1

Die Meistersinger von Nürnberg: Prelude to Act 3


On this disc we bring together some of the highlights from Neeme Järvi’s five-volume Wagner series with the Royal Scottish National Orchestra. As an added bonus, we have included the Overture to Der fliegende Holländer, a piece not before released.

Among Wagner’s most revolutionary scores is the tragic-romantic opera Tristan und Isolde. The key themes of anticipation, longing, rapture, separation, hope, death, and transfiguration are suggested already in the famous Prelude to the opera, recorded here.

The Overture to Rienzi, Wagner’s third completed opera (1838 – 40), incorporates the melody of Rienzi’s prayer at the start of Act V, which since became the opera’s best-known aria, and ends with a dazzling military march. Die Feen was the composer’s first great romantic, although less well-known, opera. The overall style of the work, based on La donna serpente by Carlo Gozzi, owes its essentials to Beethoven, Marschner, and Weber.

Wagner based Das Liebesverbot on Shakespeare’s Measure for Measure. It is perhaps the most Mediterranean-sounding of his operas, something especially apparent in the brimming vitality of the Overture with its sparkling contributions of castanets, triangle, and tambourine. ‘Rollicking good fun’ wrote American Record Guide of this piece.

Also enriching the disc are the Prelude to Die Meistersinger von Nürnberg, the Prelude to Act III of Lohengrin, and the seldom performed and recorded, Weber-inspired Overture which Wagner wrote in 1835 for the play Columbus by Theodor Apel. Eine Faust-Ouvertüre followed in 1840. Taking its inspiration from Goethe’s famous play, this work, together with Hector Berlioz’s Symphonie fantastique, became the main example of nineteenth-century programme music.

“an excellent programme in its own right, hard to better, even though, surprisingly, Jarvi in his long career has conducted little or no theatrical Wagner. He tends to favour measured tempos, but these are illuminated by the fine playing of the RNSO, gleaming richly in the spacious grandeur of SACD sound.” BBC Music Magazine, December 2013 ****

“ Järvi is a master of this repertoire and he continually conjures splendid playing from his Scottish orchestra.” Gramophone Magazine, November 2013

“Jarvi’s interpretations are wonderfully supple.” Sunday Times, 1st September 2013

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Hans Knappertsbusch conducts Wagner

Hans Knappertsbusch conducts Wagner


Wagner:

Parsifal: Prelude to Act 1

Parsifal: Transformation Scene

Komm, komm, holder Knabe! (from Parsifal)

Siegfried Idyll

Tristan und Isolde: Prelude to Act 1

Tannhäuser: Overture and Venusberg Music

Der fliegende Holländer: Overture

Rienzi Overture

Die Meistersinger von Nürnberg: Overture

Die Meistersinger von Nürnberg: Prelude to Act 3

Die Walküre: Ride of the Valkyries

Siegfried: Waldweben

with Franz Lechleitner

Gotterdammerung: Dawn, Siegfried's Rhine Journey & Funeral March


‘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)

Australian Eloquence - ELQ4807093

(CD - 2 discs)

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Wagner: Wesendonck-Lieder, Siegfried-Idyll & Overtures

Wagner: Wesendonck-Lieder, Siegfried-Idyll & Overtures


Wagner:

Der fliegende Holländer: Overture

original version

Wesendonck-Lieder (5)

orch. Mottl (Nos. 1-4)/Wagner (No. 5)

Nina Stemme (soprano)

Der fliegende Holländer: Overture

final version

Siegfried Idyll

Träume (No. 5 from Wesendonck-Lieder)

Katarina Andreasson (violin)

Die Meistersinger von Nürnberg: Prelude to Act 3


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.

“[Stemme] brings heroic refulgence as well as sensibility to music that luxuriates in the chromatic agony and ecstasy of Tristan und Isolde.” Sunday Times, 26th May 2013

“Surprisingly, these performances don’t come across as anaemic, thanks to a very vivid, closely-miked recording...There’s no excess fat, but no absence of drive or drama either...Stemme’s rapt account of the Wesendonck-Lieder is among the best around.” The Arts Desk, 1st June 2013

“[the Siegfried Idyll is] performed with a bright morning airiness that recalls its famous premiere...[Stemme's] approach remains expressive and searching, with excellent diction that rides the lighter orchestration effortlessly.” BBC Music Magazine, August 2013 ***

“[Stemme] dominates with the Wesendonck-Lieder, which have all of her customary vocal richness but also an amplitude and approach that's appropriate to the larger scale and broader strokes of opera...Siegfried Idyll is usually heard under chamber orchestra circumstances, and both the quality of the playing and sheen of the strings are up there with the best.” Gramophone Magazine, August 2013

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BIS - BIS2022

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Klaus Florian Vogt: Helden

Klaus Florian Vogt: Helden


Flotow:

Ach, so fromm (from Martha)

Korngold:

Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt)

with Manuela Uhl (soprano)

Lortzing:

Lebe wohl, mein flandrisch Mädchen (from Zar und Zimmermann)

Mozart:

Dies Bildnis ist bezaubernd schön (from Die Zauberflöte)

Wagner:

Winterstürme wichen dem Wonnemond (from Die Walküre)

In fernem Land (from Lohengrin)

Morgenlich leuchtend im rosigen Schein 'Prize Song' (from Die Meistersinger von Nürnberg)

Lohengrin: Prelude to Act 3

Die Meistersinger von Nürnberg: Prelude to Act 3

Weber:

Nein! länger trag' ich nicht die Qualen…Durch die Wälder (from Der Freischütz)

Oberon Overture

Ich juble in Glück und Hoffnung neu (from Oberon)


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.

Read Presto's complete review of this disc here.

“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

“Despite the title, Vogt sounds nothing like a typical Heldentenor... His sound is far slimmer, lighter and brighter than one usually hears in heroic repertoire, but has a real metallic core and a thrilling ‘blade’ in the upper register... There’s no bellowing or bluster...his plangent, youthful timbre make him an exceptionally vulnerable Siegmund, a shy but quietly-confident Walther and one of the most truly ethereal Lohengrins you’re likely to hear.” Katherine Cooper, Presto Classical, 26th March 2012

“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 ***

Sony - 88697988642

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Wagner: Opera Overtures & Preludes

Wagner: Opera Overtures & Preludes

Recorded Free Trade Hall, Manchester, 16-17 September 1959 and April 1959 STEREO


Wagner:

Die Meistersinger von Nürnberg: Overture

Die Meistersinger von Nürnberg: Dance of the Apprentices

Die Meistersinger von Nürnberg: Entry of the Masters

Die Meistersinger von Nürnberg: Prelude to Act 3

Tannhäuser: Overture

Der fliegende Holländer: Overture

Lohengrin: Prelude to Act 1

Tristan und Isolde: Prelude to Act 1

Tristan und Isolde: Prelude & Liebestod


These stereo recordings date from sessions on 16 and 17 September 1959 for Pye. (The Tannhäuser Overture was recorded at an earlier session in April 1959). The Meistersinger Overture and Act 3 Suite was popular with Barbirolli, having recorded it for HMV in 1944 and other Wagner works he recorded included the Lohengrin Preludes (HMV 1946, now released on SJB1004), the Rienzi Overture (HMV 1944). A unique opportunity to hear an all-Wagner concert from Barbirolli comes in a ‘live’ broadcast with the New York Philharmonic in November 1938 which includes the Siegfried Idyll, which he never recorded commercially (Barbirolli Society SJB1035).

Whatever qualms Wagner himself might have had about performing extracts from his operas in the concert hall, he was, as a professional musician, able to suppress them. They brought in revenue, of course, but this was not the main consideration; more important was that his work should be known and understood. He therefore sanctioned, even encouraged, the performance of excerpts from his operas, either with vocalists or, as in the present recording, in purely orchestral form.

Barbirolli Society - SJB1052

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Wagner: Overtures & Preludes

Wagner: Overtures & Preludes


Beethoven:

Leonore Overture No. 3, Op. 72b

Berlioz:

Les Francs-juges Overture, Op. 3

Wagner:

Der fliegende Holländer: Overture

Tannhäuser: Overture

Die Meistersinger von Nürnberg: Prelude to Act 3

Tristan und Isolde: Prelude & Liebestod


Decca - Originals - 4782662

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Wagner: Overtures & Preludes

Wagner: Overtures & Preludes


Wagner:

Tannhäuser: Overture

Tristan und Isolde: Prelude to Act 1

Lohengrin: Preludes to Acts 1 & 3

Siegfried Idyll

Die Meistersinger von Nürnberg: Overture

Die Meistersinger von Nürnberg: Prelude to Act 3

Die Meistersinger von Nürnberg: Dance of the Apprentices

Die Meistersinger von Nürnberg: Act 3 finale


Virgin Virgo - 5624822

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Arturo Toscanini: Wagner & Verdi, Vol. 1

Arturo Toscanini: Wagner & Verdi, Vol. 1


Wagner:

Die Meistersinger von Nürnberg: Overture

Die Meistersinger von Nürnberg: Prelude to Act 3

Lohengrin: Prelude to Act 1

Lohengrin: Prelude to Act 3

Siegfried Idyll

Faust Overture, WWV59


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Documents - Wagner Verdi Toscanini - 298599

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Hans Knappertsbusch: Early Recordings 1928-1941

Hans Knappertsbusch: Early Recordings 1928-1941


Liszt:

Mazeppa, symphonic poem No. 6, S100

Les Préludes, symphonic poem No. 3, S97

Mozart:

German Dances (6), K509

German Dances (6), K600

Nicolai, C O:

Die lustigen Weiber von Windsor overture

Rossini:

Guillaume Tell Overture

Strauss, J, II:

Accelerationen, Op. 234

Die Fledermaus Overture

Freut euch des Lebens Waltz, Op. 340

Geschichten aus dem Wienerwald, Op. 325

Wagner:

Rienzi Overture

Der fliegende Holländer: Overture

Freudig begrussen wir 'Entrance of the Guests' (from Tannhauser)

Die Meistersinger von Nürnberg: Overture

Die Meistersinger von Nürnberg: Prelude to Act 3

Die Meistersinger von Nürnberg: Dance of the Apprentices

Die Walküre: Ride of the Valkyries

Parsifal: Transformation Scene


Vienna Philharmonic Orchestra, Berlin Philharmonic Orchestra, Berlin Staatsoper Orchestra, Munich State Opera Orchestra, Hans Knappertsbusch

Archiphon - ARC-110-11

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