Richard Wagner: Lohengrin (Bayreuth Festival 2010)

Richard Wagner: Lohengrin (Bayreuth Festival 2010)

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  • Duration: 3:29:19
  • Updated: 14 Oct 2012
  • views: 179586
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Richard Wagner: Lohengrin (Bayreuth Festival 2010) 3 Hours 29 Minutes 
Musikalische Leitung: Andris Nelsons, Chorleitung: Eberhard Friedrich, Lohengrin: Jonas Kaufmann, Heinrich der Vogler: Georg Zeppenfeld, Elsa von Brabant: Annette Dasch, Friedrich von Telramund: Hans-Joachim Ketelsen, Ortrud: Evelyn Herlitzius, Der Heerrufer des Königs: Samuel Youn, 1. Edler: Stefan Heibach, 2. Edler: Willem Van der Heyden, 3. Edler: Rainer Zaun, 4. Edler: Christian Tschelebiew.
https://wn.com/Richard_Wagner_Lohengrin_(Bayreuth_Festival_2010)
Richard Wagner: Parsifal (Bayreuth Festival 2012)

Richard Wagner: Parsifal (Bayreuth Festival 2012)

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  • Duration: 4:07:14
  • Updated: 15 Oct 2012
  • views: 238985
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Richard Wagner: Parsifal (Bayreuther Festspiele 2012) 4 Hour 7 Minutes. Parsifal ist das letzte musikdramatische Werk von Richard Wagner. Wagner selbst bezeichnete das dreiaktige Stück als ein Bühnenweihfestspiel und verfügte, dass es ausschließlich im Bayreuther Festspielhaus aufgeführt werden sollte. Musikalische Leitung Philippe Jordan, Chorleitung Eberhard Friedrich, Amfortas Detlef Roth, Titurel Diógenes Randes, Gurnemanz Kwangchul Youn, Parsifal Burkhard Fritz, Klingsor Thomas Jesatko, Kundry Susan Maclean, 1. Gralsritter Arnold Bezuyen, 2. Gralsritter Christian Tschelebiew, 1. Knappe Julia Borchert, 2. Knappe Ulrike Helzel, 3. Knappe Clemens Bieber, 4. Knappe Willem Van der Heyden, Klingsors Zaubermädchen Julia Borchert
, Klingsors Zaubermädchen Martina Rüping, Klingsors Zaubermädchen Carola Guber, Klingsors Zaubermädchen Christiane Kohl, Klingsors Zaubermädchen Jutta Maria Böhnert, Klingsors Zaubermädchen Ulrike Helzel, Altsolo Simone Schröder.
https://wn.com/Richard_Wagner_Parsifal_(Bayreuth_Festival_2012)
[HD] Richard Wagner - Tristan Und Isolde - Prelude | Daniel Barenboim, Bayreuth Festival

[HD] Richard Wagner - Tristan Und Isolde - Prelude | Daniel Barenboim, Bayreuth Festival

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  • Duration: 11:03
  • Updated: 09 Dec 2012
  • views: 53410
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Richard Wagner - Tristan und Isolde, Opera, WWV 90. Act I. Prelude Daniel Barenboim, Bayreuth Festival, 1983. This 1983 Bayreuth Festival film of Wagner's monumental ode to passion is considered by many to be the best available. It is the only production available on DVD to hold to anything like a conventional setting, and only takes a radical interpretation in the last moments of the final act. Wagner's music drama (he used the word 'handlung' or treatment) was inspired in part by the great mediæval romances by Gottfried von Strasbourg and his predecessors, Schopenhauer's philosophy, and his personal life's own reality-show level drama. Wagner's stated intention to write an opera based on the legend of Tristan and Isold, of whom he had read in the thirteenth century narrative poem by Gottfried von Strassburg, first appears in a letter to Franz Liszt of December 16, 1854. The earliest musical sketches date from December 1856, by which date Wagner had already completed the text for Der Ring des Nibelungen, as well as the music for Das Rheingold and Die Walküre, and through Act Two of Siegfried. Wagner had also completed three of his most important writings on the aesthetics of drama. The composition of Tristan und Isolde is entwined in a nexus of Wagner's personal and theoretical concerns. In August 1857, Wagner stopped work on the music for Siegfried, in order to set to work full time on Tristan because, as stated in his 1860 essay The Music of the Future, he wanted to compose an opera of more modest scale with a chance of being produced. The music-drama was completed in Lucerne in March 1859. Wagner's had also composed five songs to poems by Mathilde Wesendonck, his patron's wife, with whom he had become deeply infatuated, two of which he designated as studies for Tristan und Isolde. Wagner himself acknowledged that with the composition of Tristan, he transcended the musical and dramaturgical theories he set out in his earlier treatises. Indeed, the musical language of Tristan has long been acknowledged as the beginning of musical modernism. The harmonic language of Tristan, heaving as it does with prolonged courses of unresolved dissonances, not only enacts musically the sexual tension between the opera's two central characters, but also points to the liberation of dissonance from the constraints of tonality that Arnold Schoenberg and others in the twentieth century would champion. The Prelude to Tristan fully exemplifies Wagner's forward-looking approach to both harmony and the issue of musical form -- or, some would say, formlessness -- that operates centrally in his music-dramas. Alfred Lorenz argued in his 1924 study, The Musical Form of Richard Wagner's "Tristan und Isolde", that the opera's prelude and three acts consist of large-scale Bogen ("arch," e.g., ABA; Prelude-Act I, and Act Two) and Bar (e.g., AAB; Act Three) forms, and that the entire opera-prelude and all acts combined falls into a giant Bogen form. In 2000, Robert Bailey argued that the form of the Prelude to Tristan can be understood to unfold in cycles of repeating phrase units. The Prelude also unfolds Wagner's Leitmotif technique, in which instrumental music introduces central motives which correspond with characters and ideas. Wagner seems to have explored the implications of one of Tristan's central Leitmotif -- that consisting of four ascending chromatic pitches and introduced by the oboe in the opening measures of the Prelude -- in his song "Im Treibhaus," which was one of the five Wesendonck songs. Additionally, a strong connection exists between the music of the Act Two love scene of Tristan and that of another study for Tristan, Wagner's earlier Wesendonck song, "Träume."
https://wn.com/Hd_Richard_Wagner_Tristan_Und_Isolde_Prelude_|_Daniel_Barenboim,_Bayreuth_Festival
Wagner SIEGFRIED "Waldweben" - AIMS Festival Orchestra - Gerrit Prießnitz

Wagner SIEGFRIED "Waldweben" - AIMS Festival Orchestra - Gerrit Prießnitz

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  • Duration: 8:26
  • Updated: 17 Oct 2013
  • views: 5530
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AIMS in Graz 2013 Richard Wagner Gala Waldweben - SIEGFRIED AIMS Festival Orchestra Conductor: Gerrit Prießnitz Graz, Stefaniensaal, 1.8.2013
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Richard Wagner - Tannhauser "Pilgrim's Chorus" - Bayreuth Festival

Richard Wagner - Tannhauser "Pilgrim's Chorus" - Bayreuth Festival

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  • Duration: 6:00
  • Updated: 31 Dec 2008
  • views: 461471
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Performance of the "Pilgrim's Chorus" by the Bayreuth Festival orchestra and chorus. Note - this is a concert version and not from an actual performance of the opera.
https://wn.com/Richard_Wagner_Tannhauser_Pilgrim's_Chorus_Bayreuth_Festival
Germany 1934 - Bayreuth Adolf Hitler • Richard Wagner Festspiele

Germany 1934 - Bayreuth Adolf Hitler • Richard Wagner Festspiele

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  • Duration: 0:36
  • Updated: 12 Feb 2017
  • views: 2229
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Germany 1934 - Bayreuth Adolf HitlerRichard Wagner Festspiele http://www.germanhistoryarchive.com/ Original Unpublished Footage Germany & World War II 1933-1945 https://www.youtube.com/playlist?list=PLLEtu_bvreispSTeS_m08OcY8sC26bJVN The Bayreuth Festival (German: Bayreuther Festspiele) is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th-century German composer Richard Wagner are presented. Wagner himself conceived and promoted the idea of a special festival to showcase his own works, in particular his monumental cycle Der Ring des Nibelungen and Parsifal. Performances take place in a specially designed theatre, the Bayreuth Festspielhaus. Wagner personally supervised the design and construction of the theatre, which contained many architectural innovations to accommodate the huge orchestras for which Wagner wrote as well as the composer's particular vision about the staging of his works. The Festival has become a pilgrimage destination for Wagner enthusiasts, who often must wait years to obtain tickets. In the 1920s, well before the rise of the Nazi Party, Winifred Wagner became a strong supporter and close personal friend of Adolf Hitler; her correspondence with Hitler has never been released by the Wagner family. She and other festival leaders were members of Nazi chief ideologue Alfred Rosenberg's Kampfbund für deutsche Kultur, which actively suppressed modernist music and works by "degenerate" artists. The festival maintained some artistic independence under the Third Reich. Ironically, Hitler attended performances that included Jewish and foreign singers, long after they had been banned from all other venues across Germany (including heldentenor Max Lorenz, married to a well-known Jewish woman). Winifred's influence with Hitler was so strong that Hitler even wrote a letter (at her behest) to anti-fascist Italian conductor Arturo Toscanini, begging him to lead the festival. Toscanini refused. From 1933 to 1942, the festival was conducted principally by Karl Elmendorff. It was under the Third Reich that the festival made its first break from tradition, abandoning the deteriorating 19th century sets created by Richard Wagner. Many protested at the changes, including prominent conductors such as Toscanini and Richard Strauss, and even some members of the Wagner family. In their view, any change to the festival was a profanation against "the Master" (Wagner). Nevertheless, Hitler approved of the changes, thus paving the way for more innovations in the decades to come. During the war, the festival was turned over to the Nazi Party, which continued to sponsor operas for wounded soldiers returning from the front. These soldiers were forced to attend lectures on Wagner before the performances, and most found the festival to be tedious. However, as “guests of the Führer”, none complained. opera Oper Lohengrin Geschichte Doku documentary Musik Opernhaus Tristan Isolde The Ring Meistersinger von Nürnberg Parsifal Der fliegende Holländer Tannhäuser Der Ring des Nibelungen Flying Dutchman Rienzi video youtube google
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Wagner - Götterdämmerung - Hoi-ho! - Bayreuth Festival

Wagner - Götterdämmerung - Hoi-ho! - Bayreuth Festival

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  • Duration: 10:28
  • Updated: 26 Nov 2008
  • views: 470549
videos
Hagen - Josef Greindl Bayreuth Festival Orchestra and Chorus photo - Josef Greindl as Hagen
https://wn.com/Wagner_Götterdämmerung_Hoi_Ho_Bayreuth_Festival
Richard Wagner "Flying Dutchman" Overture

Richard Wagner "Flying Dutchman" Overture

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  • Duration: 10:28
  • Updated: 09 Jun 2013
  • views: 17874
videos
Round Top Music Festival June 8, 2013 Texas Festival Orchestra; Perry So, conductor
https://wn.com/Richard_Wagner_Flying_Dutchman_Overture
Claudio Abbado - Richard Wagner - Ouverture de Lohengrin

Claudio Abbado - Richard Wagner - Ouverture de Lohengrin

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  • Duration: 9:58
  • Updated: 13 Apr 2014
  • views: 249052
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Richard Wagner (Leipzig 22 mai 1813 - Venise 13 février 1883) Lohengrin (ouverture), crée en 1850 Extrait de l'émission diffusée sur ARTE, à l'occasion des 80 ans de Claudio Abbado qui dirigeait l'orchestre du festival de Lucerne au Centre de la culture et des congrès. Claudio Abbado est né le 26 juin 1933 (sources Wikipédia), et décédé le 20 janvier 2014. enregistrement ARTE télévision le 23 juin 2013.
https://wn.com/Claudio_Abbado_Richard_Wagner_Ouverture_De_Lohengrin
[C Major 705908] WAGNER, R.: Parsifal (Bayreuth Festival, 1998)

[C Major 705908] WAGNER, R.: Parsifal (Bayreuth Festival, 1998)

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  • Duration: 0:56
  • Updated: 27 Apr 2011
  • views: 3430
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WAGNER, R.: Parsifal (Bayreuth Festival, 1998) (NTSC) Richard Wagner PARSIFAL Amfortas -- Falk Struckmann Titurel -- Matthias Hölle Gurnemanz -- Hans Sotin Parsifal -- Poul Elming Klingsor -- Ekkehard Wlaschiha Kundry -- Linda Watson Bayreuth Festival Chorus and Orchestra Giuseppe Sinopoli, conductor Wolfgang Wagner, stage director and set designer Recorded live from the Bayreuth Festival, 1998. Click here for more info: http://www.naxos.com/catalogue/item.asp?item_code=705908
https://wn.com/C_Major_705908_Wagner,_R._Parsifal_(Bayreuth_Festival,_1998)
Richard Wagner - Tristan and Isolde (2nd act), concert performance (Lucerne Festival 2004)

Richard Wagner - Tristan and Isolde (2nd act), concert performance (Lucerne Festival 2004)

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  • Duration: 1:24:26
  • Updated: 11 Oct 2015
  • views: 10093
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From the Lucerne Festival, 2004 Lucerne Festival Orchestra Claudio Abbado - conductor Violeta Urmana - soprano (Isolde) Mihoko Fujimura - soprano (Brangäne) John Treleaven - tenor (Tristan) René Pape - bass (König Marke) Peter Brechbühler - baritone (Kurwenal) Ralf Lukas - tenor (Melot) Richard Wagner - Tristan and Isolde, concert performance of the 2nd act / Tristan und Isolde - konzertante Aufführung des 2. Aufzugs Watch the full Lucerne Festival 2004 Gala Concert: https://www.youtube.com/watch?v=z5xFL... With the Lucerne Festival Orchestra conducted by Claudio Abbado, drawing together outstanding orchestral musicians and soloists such as Kolja Blacher, Natalia Gutman, Reinhold Friedrich and Sabine Meyer, a globally unique orchestra was formed, made sure of great moments and international headlines. This live-recording from the Concert de Gala 2004 includes the 4 Last Songs by Richard Strauss, with world star Renée Fleming and a concerto performance of the second act of Richard Wagner's opera Tristan and Isolde featuring Violeta Urmana, Mihoko Fujimura and René Pape. “Tristan was the culmination of the festival's opening concert.“ The New York Times
https://wn.com/Richard_Wagner_Tristan_And_Isolde_(2Nd_Act),_Concert_Performance_(Lucerne_Festival_2004)
Wagner conduts Wagner | Tristan Und Isolde's Love Duet | Bayreuth Festival, c. 1882 (Rare)

Wagner conduts Wagner | Tristan Und Isolde's Love Duet | Bayreuth Festival, c. 1882 (Rare)

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  • Duration: 8:11
  • Updated: 01 Oct 2015
  • views: 4066
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Richard Wagner's Tristan and Isolde, Opera, WWV 90. This rare recording with Wagner conducting is the only recorded example of the composer interpreting one of his own works. Only one single recording has survived as a testimony of Wagner's art as a conductor: 00:00 Act II. Love Duet (fragments), original 04:05 Act II. Love Duet (fragments), restored (audio restauration using the cedar process) Bayreuth Festival Orchestra conducted by Richard Wagner (1813-1883) with Amalie Materna, soprano, Albert Niemann, tenor, Marianne Brandt, mezzo-soprano. Recording c. 1882 in the earlier cylinders, Bayreuth Festival. (Note: c. is the latin term "circa") in Wagner conducts Wagner: Tristan Und Isolde/Das Rheingold/Die Walküre, Grammophono. Part II Siegfried Wagner conducts Richard Wagner: https://youtu.be/jIyMBMTfyJg The phonograph was invented by Thomas Edison on July 18, 1877. His first successful recording and reproduction of intelligible sounds, achieved early in the following December, used a thin sheet of tin foil wrapped around a hand-cranked grooved metal cylinder. Thomas Edison had developed his tin-foil phonograph in 1878, and it made its way to Europe in that year. Phonograph cylinders are the earliest commercial medium for recording and reproducing sound. These hollow cylindrical objects have an audio recording engraved on the outside surface, which can be reproduced when they are played on a mechanical cylinder phonograph. Despite Wagner was ceptical about the sound machine, he was nevertheless not outside the thoughs of Thomas Edison. After he had been experimenting with his invention in 1878 by playing a recorded song backwards, he wrote: "the song is still melodious in many cases, and some of the strains are sweet and novel, but altoghether different from the song reproduced in the right way. Wagner wasn't the monopoly of the music of the future - I'm going into the machine composing business." Letter to Wiliam Preece, 19.II.1878. (The papers of Thomas A. Edison, Baltimore: John Hopkins University Press). Friedrich Nietzsche, who in his younger years was one of Wagner's staunchest allies, wrote that, for him, "Tristan and Isolde is the real opus metaphysicum of all art... insatiable and sweet craving for the secrets of night and death... it is overpowering in its simple grandeur". In a letter to his friend Erwin Rohde in October 1868, Nietzsche described his reaction to Tristan's Prelude: "I simply cannot bring myself to remain critically aloof from this music; every nerve in me is atwitch, and it has been a long time since I had such a lasting sense of ecstasy as with this overture". Even after his break with Wagner, Nietzsche continued to consider Tristan a masterpiece: "Even now I am still in search of a work which exercises such a dangerous fascination, such a spine-tingling and blissful infinity as Tristan - I have sought in vain, in every art." Tristan und Isolde is an Opera in three acts to a German libretto by the composer, based largely on the romance by Gottfried von Straßburg. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama). Wagner's composition of Tristan und Isolde was inspired by his affair with Mathilde Wesendonck and the Philosophy of Arthur Schopenhauer. Widely acknowledged as one of the peaks of the operatic repertory, Tristan was notable for Wagner's advanced use of chromaticism, tonality, orchestral colour and harmonic suspension. LIBRETTO Liebesnacht von Tristan und Isolde, zweiter Aufzug, zweite szene | "Love-Night" from Act 2, Scene 2 TRISTAN […] ohn' Erwachen, ohn' Erbangen, namenlos in Lieb' umfangen, ganz uns selbst gegeben, der Liebe nur zu leben! ISOLDE (wie in sinnender Entrücktheit zu ihm aufblickend) So stürben wir, um ungetrennt, - TRISTAN ewig einig ohne End', - ISOLDE ohn' Erwachen, - TRISTAN ohn' Erbangen, - BEIDE namenlos in Lieb' umfangen, ganz uns selbst gegeben, der Liebe nur zu leben! (Isolde neigt wie überwältigt das Haupt an seine Brust) BRANGÄNES STIMME (wie vorher) Habet acht! Habet acht! Schon weicht dem Tag die Nacht. […] BEIDE […] Hehr erhabne Liebesnacht! Wen du umfangen, wem du gelacht, wie wär' ohne Bangen aus dir er je erwacht? Nun banne das Bangen, holder Tod, sehnend verlangter Liebestod! In deinen Armen, dir geweiht, urheilig Erwarmen, von Erwachens Not befreit! Wie sie fassen, wie sie lassen, diese Wonne, Fern der Sonne, fern der Tage Trennungsklage! Ohne Wähnen sanftes Sehnen; ohne Bangen süss Verlangen; ohne Wehen hehr Vergehen; ohne Schmachten hold Umnachten; ohne Meiden, ohne Scheiden, traut allein, ewig heim, in ungemessnen Räumen übersel'ges Träumen. TRISTAN Tristan du, ich Isolde, nicht mehr Tristan! ISOLDE Du Isolde, Tristan ich, nicht mehr Isolde! BEIDE Ohne Nennen, ohne Trennen, neu Erkennen, neu Entbrennen; endlos ewig, ein-bewusst: heiss erglühter Brust höchste Liebeslust! (Sie bleiben in verzückter Stellung) [...]
https://wn.com/Wagner_Conduts_Wagner_|_Tristan_Und_Isolde's_Love_Duet_|_Bayreuth_Festival,_C._1882_(Rare)
Richard Wagner - Der fliegende Holländer - Overture (Bayreuth Festival 2012)

Richard Wagner - Der fliegende Holländer - Overture (Bayreuth Festival 2012)

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  • Duration: 10:43
  • Updated: 26 Jul 2012
  • views: 135393
videos
Conductor: Christian Thielemann Orchestra: Bayreuth Festival Orchestra Recording live from the Bayreuth Festival, July 25th, 2012.
https://wn.com/Richard_Wagner_Der_Fliegende_Holländer_Overture_(Bayreuth_Festival_2012)
WT1 - Richard Wagner Festival Wels 2011

WT1 - Richard Wagner Festival Wels 2011

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  • Duration: 7:24
  • Updated: 20 Jul 2011
  • views: 738
videos
https://wn.com/Wt1_Richard_Wagner_Festival_Wels_2011
Richard Wagner - Tannhäuser - Overture (Bayreuth Festival 2012)

Richard Wagner - Tannhäuser - Overture (Bayreuth Festival 2012)

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  • Duration: 13:49
  • Updated: 29 Jul 2012
  • views: 26953
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Conductor: Christian Thielemann Orchestra: Bayreuth Festival Orchestra Recording live from the Bayreuth Festival, July 28th, 2012.
https://wn.com/Richard_Wagner_Tannhäuser_Overture_(Bayreuth_Festival_2012)
Wagner GÖTTERDÄMMERUNG "Siegfrieds Rheinfahrt" - AIMS Festival Orchestra - Gerrit Prießnitz

Wagner GÖTTERDÄMMERUNG "Siegfrieds Rheinfahrt" - AIMS Festival Orchestra - Gerrit Prießnitz

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  • Duration: 10:58
  • Updated: 17 Oct 2013
  • views: 8320
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AIMS in Graz 2013 Richard Wagner Gala Siegfrieds Rheinfahrt - GÖTTERDÄMMERUNG AIMS Festival Orchestra Conductor: Gerrit Prießnitz Graz, Stefaniensaal, 1.8.2013
https://wn.com/Wagner_Götterdämmerung_Siegfrieds_Rheinfahrt_Aims_Festival_Orchestra_Gerrit_Prießnitz
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