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Wagner : Parsifal

Herbert Kegel

Opera - Released August 12, 2008 | Brilliant Classics

Distinctions 5 de Diapason
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Wagner: Tannhäuser

Marek Janowski

Opera - Released January 1, 2013 | PentaTone

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Continuing his extraordinary SACD series of Richard Wagner's music dramas for PentaTone, Marek Janowski presents Tannhäuser in the original Dresden version, with a dynamic cast, choir, and orchestra that give the performance their all. Like the previous recordings in this project, issued in celebration of the bicentennial of Wagner's birth, the performance is live and the sound quality is exceptional in capturing both the exciting playing of the Berlin Radio Symphony Orchestra and the dramatic power of the singers onstage. The standouts are Robert Dean Smith as Tannhäuser, Marina Prudenskaja as Venus, and the exceptional Nina Stemme as Elisabeth, leading a cast that is strong and evenly matched to the roles. The mutichannel format fairly accurately re-creates their movements and positions, so there's little confusion about the direction of the vocals or trailing off. (The voice of the Shepherd, sung beautifully by Bianca Reim, is remote by design but perfectly audible.) The choir is rich and vibrant, particularly in the Pilgrims Chorus, and the Berlin orchestra has great presence and burnished sonorities; many listeners will prize this recording for its playing, perhaps even more than for the singing. Taken as a whole, this is a highly desirable recording of Tannhäuser that Wagner buffs should consider adding to their collections. Highly recommended.© TiVo
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Wagner by Otto Klemperer: The Ring Without Words, Wesendonck Lieder, Overtures, Preludes

Otto Klemperer

Classical - Released November 24, 2021 | Alexandre Bak - Classical Music Reference Recording

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The Wagner Project

Matthias Goerne

Classical - Released November 24, 2017 | harmonia mundi

Hi-Res Booklet
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Wagner Overtures and Preludes

Andrés Orozco-Estrada

Classical - Released August 30, 2019 | Sony Classical - Sony Music

Hi-Res Booklet
Leading the Frankfurt Radio orchestra, the hr-Sinfonie Orchester, conductor Andrés Orozco-Estrada is performing and recording the great repertoire of symphonic music. His 100% Wagner programme brings together a selection of overtures and preludes. No singing: just orchestral music. Siegfried is absent here, as is the Tetralogia, along with the preludes from the third acts of Parsifal and Lohengrin. But as a whole, the record – a single disc, unlike Marek Janowski's double album for PentaTone – is well-put together.Heading the German outfit, Orozco-Estrada blazes a new path among the operas of the great Builder of Bayreuth. The programme moves through the pieces in chronological order of composition. The Flying Dutchman starts the proceedings, followed by Lohengrin and Tristan and Isolde forms a bridge to the high point that is Parsifal. Then the clock turns back, as Tannhäuser leads us on at last to Rienzi. It's a daring move to finish on this work from Wagner's youth! That said, the listener will recognise the value of this precious overture. Of course, in the middle of the score, the rolling snare drums herald the rather pompous tone of the final military march, punctuated with cymbal crashes. But that shouldn't overshadow the passages of great beauty which recall  – and come on, you've just listened to it – Tannhäuser, in particular the combination of the choral pilgrims' motif against a barrage of strings.The Flying Dutchman, the first work to break with opera in the same manner as Meyerbeer, greets us in medias res, in Wagner's dramatic laboratory, where wonderful worlds are born. Impeccable brass and agile strings, an interplay of finely-balanced volumes, structures and textures: the orchestra buffets the Dutchman, sets Lohengrin aflame, rumbles around Tannhäuser and demonstrates how these pages contain all the ingredients – thematic, dramatic, lyrical – of the drama, in embryo. We will wait faithfully for a complete Wagner with these superb musicians in the pit! © Elsa Siffert/Qobuz
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Wagner: Der fliegende Holländer, WWV 63 (Live)

Bayreuther Festspielorchester

Opera - Released March 14, 2006 | Orfeo

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Wagner: Tannhäuser, WWV 70

Bayreuther Festspielorchester

Opera - Released July 29, 2004 | Orfeo

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Wagner: Le vaisseau fantôme (Diapason n°615)

George London

Opera - Released June 28, 2013 | Les Indispensables de Diapason

Booklet
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Bach : "Actus tragicus" (Cantatas BWV 4, 12, 106, 196)

Konrad Junghänel

Cantatas (sacred) - Released July 31, 2007 | harmonia mundi

Distinctions Diapason d'or de l'année - Diapason d'or - Choc du Monde de la Musique - 4F de Télérama
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Wagner: Wesendonck Lieder / Mahler: Rückert Lieder

Christian Thielemann & Wiener Philharmoniker

Classical - Released December 3, 2021 | Deutsche Grammophon (DG)

Hi-Res Booklet
2020 and 2021 were not very conducive to live recordings. So, with Elīna Garanča, you’ll be all the more delighted to be able to discover these superb recordings taken from the last two editions of the Salzburg festival. With the Vienna Philharmonic Orchestra and under the baton of Christian Thielemann, the soprano presents the magnificent orchestral lieder from Wagner’s Wesendonck cycle as well as Mahler’s Rückert-Lieder.In concert, the two works are often performed together because they follow two similar themes: intimacy and introspection. When Wagner composed his Wesendonck-Lieder for piano and female voice in 1857-1858, his world revolved around one person: Mathilde Wesendonck. This nostalgic love, which never really manifested itself, was recorded by Wagner in five lieder based on Mathilde’s own poems. Although Mahler’s Rückert-Lieder aren’t centred around a particular person or event – rather, they are five independent works based on Friedrich Rückert texts – the compositions are nevertheless deeply emotional and place personal experience at the forefront.Elīna Garanča gets to the heart of this intimacy and introspection, helped by the orchestra, which rolls out a carpet of sound which is full of emotion. It’s not only the pieces themselves, but also the concert’s circumstances that give this live recording a special appeal. Garanča is at one with the Vienna Philharmonic Orchestra with vibrancy, finesse and impressive skill, without being drowned out by the instrumental mass. A real record/event. © Lena Germann/Qobuz
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Im Abendrot: Songs by Wagner, Pfitzner, Strauss

Matthias Goerne

Classical - Released April 16, 2021 | Deutsche Grammophon (DG)

Hi-Res Booklet
Shrouded in an awkward acoustic which is hardly customary for Berlin's Teldex Studio, the latest recording by Matthias Goerne and Korean pianist Seong-Jin Cho (First Prize in the 2015 Chopin Competition) is devoted to twilight Lieder by Wagner, Pfitzner and Richard Strauss.Twilight ("Abendrot" in German), an essential component of German Romanticism, expresses the deep, dark side of the human soul, often in a tragic or dramatic tone, barely tempered by an oppressive light that prematurely withers the flowers of memory. The famous Wesendonck-Lieder, for which Wagner was inspired by an impossible love whose harmonies foreshadow those of Tristan and Isolde, find in Matthias Goerne's deep voice a performer to equal their inspiration. The German baritone has long been a supporter of the music of Hanz Pfitzner, a contemporary of Richard Strauss who is often rather academic for Latin ears. What a pleasure to discover this bouquet of Lieder, which evoke the ever-renewed miracle of nature, and in which seasons and landscapes are robed in strong nostalgia.Richard Strauss follows through the metaphors of the sun: darkening (Traum durch die Dämmerung), promising great future joys (Morgen) or eternal rest (Ruhe, meine Seele!); dreams of peace and beauty (Freundliche Vision) and the weariness of a fading life (Im Abendrot). This album reflects the black diamond of melancholy, and its three composers complement each other delightfully. © François Hudry/Qobuz
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Wagner: Wesendonck Lieder / Mahler: Rückert Lieder

Elina Garanca

Classical - Released December 3, 2021 | Deutsche Grammophon (DG)

Booklet
2020 and 2021 were not very conducive to live recordings. So, with Elīna Garanča, you’ll be all the more delighted to be able to discover these superb recordings taken from the last two editions of the Salzburg festival. With the Vienna Philharmonic Orchestra and under the baton of Christian Thielemann, the soprano presents the magnificent orchestral lieder from Wagner’s Wesendonck cycle as well as Mahler’s Rückert-Lieder.In concert, the two works are often performed together because they follow two similar themes: intimacy and introspection. When Wagner composed his Wesendonck-Lieder for piano and female voice in 1857-1858, his world revolved around one person: Mathilde Wesendonck. This nostalgic love, which never really manifested itself, was recorded by Wagner in five lieder based on Mathilde’s own poems. Although Mahler’s Rückert-Lieder aren’t centred around a particular person or event – rather, they are five independent works based on Friedrich Rückert texts – the compositions are nevertheless deeply emotional and place personal experience at the forefront.Elīna Garanča gets to the heart of this intimacy and introspection, helped by the orchestra, which rolls out a carpet of sound which is full of emotion. It’s not only the pieces themselves, but also the concert’s circumstances that give this live recording a special appeal. Garanča is at one with the Vienna Philharmonic Orchestra with vibrancy, finesse and impressive skill, without being drowned out by the instrumental mass. A real record/event. © Lena Germann/Qobuz
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Bach: Early Cantatas, Vol. 1

Emma Kirkby

Cantatas (sacred) - Released February 1, 2005 | Chandos

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Wagner: Parsifal, WWV 111

Martha Modl

Opera - Released June 2, 2023 | Profil Edition Guenter Haenssler

Booklet
The production of Wagner's overgrown Grail tale Parsifal from the shrine at Bayreuth, directed by the composer's grandson Wieland and first staged in 1951, was famously spare in its design; the conductor, Hans Knappertsbusch ("Kna," to perfect Wagnerites), thought the sets were still to be constructed and was chagrined to find that there really were very few. Vocally, however, the music was luxuriant. By the time of this 1955 live recording, most of the singers, including Martha Mödl as Kundry, were veterans of the production, and there was a strong newcomer, baritone Dietrich Fischer-Dieskau as Amfortas, already with his characteristic honeyed tone. The production was recorded in the studio in 1951, with somewhat better sound than on this release, but really, the live sound is impressive for 1955 (some of the credit should go to Hänssler Classic's remastering), and text intelligibility is great. Further, Knappertsbusch is known to have preferred live performance to recording, and the production benefits from a good deal of forward motion; sample around and compare timings with other recordings, for almost everywhere, Knappertsbusch comes in faster than average. Yet the music never feels rushed in any way. Of course, several generations of Wagner singers have come and gone since this recording was made, but for those wanting to experience Wagner "from the source," this may be a prime choice despite its age. © James Manheim /TiVo
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Parsifal

Netherlands Radio Philharmonic Orchestra

Classical - Released May 29, 2011 | Challenge Classics

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Richard Wagner : Der Fliegende Holländer - Pierre-Louis Dietsch : Le vaisseau fantôme ou le maudit des mers

Marc Minkowski

Classical - Released November 4, 2013 | naïve classique

Hi-Res Booklet Distinctions Diapason d'or
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Wagner: Brünhilde's Immolation Scene (From "Götterdämmerung") & Wesendonck-Lieder

Leonard Bernstein

Classical - Released February 16, 2018 | Sony Classical

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Telemann: Christmas Oratorios

Monika Mauch

Classical - Released January 4, 2019 | CPO

Booklet
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Wagner: Die Walkure (1953)

Ramón Vinay

Classical - Released February 1, 2015 | Myto Historical