Richard Wagner: Symphonic Excerpts from “Der Ring des Nibelungen”


2 CD 

Κλασική Μουσική 


10 Σεπτεμβρίου 2020Ερώτηση για το προϊόν



Richard Wagner

Das Rheingold (Interludes)

Das Rheingold: Entrance of the Gods into Valhalla

Das Rheingold: Prelude

Die Walkure: Magic Fire Music (Die Zauberfeuer)

Die Walküre: Ride of the Valkyries (Ritt der Walküren, Walkürenritt)

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

Siegfried: Waldweben (Forest Murmurs)

Starke Scheite schichtet mir dort ‘Brünnhilde’s Immolation Scene’ (from Götterdämmerung)


Orchestre de l’ Opéra National de Paris
Philippe Jordan (Conductor)

Αναλυτική Παρουσίαση

Richard Wagner

Starke Scheite schichtet mir dort ‘Brünnhilde’s Immolation Scene’ (from Götterdämmerung)

Nina Stemme (Soprano)

The anniversary wagon from Paris: Philippe Jordans ring pull-outs with Nina Stemme The opera metropolis of Paris was also under the spell of the music revolutionary Richard Wagner in 2013. Since 2010, the Ring, directed by Günter Krämer and conducted by Philippe Jordan at the Opéra Bastille, has caused a sensation. After the four parts had been played individually over several years, the project culminated in a complete Ring performance in June 2013 – the first in 60 years at this important house. Now a special cross-section is released as an album – with symphonic excerpts and Brünnhilde’s final song from the Götterdämmerung with Wagner soprano Nina Stemme.

“When you approach the Ring for the first time, you tend to look at the parts individually,” says Philippe Jordan, who has been considered one of the best Wagner conductors since his Bayreuth debut in 2012 at the latest. “But when one returns to the Rheingold and rediscovers its clarity and innocence, and when one has again walked the path through the three other works, shouldn’t one consider the unity of the cycle and hear the sound of the Götterdämmerung already in the prologue? The answer is offered by his Wagner album with instrumental excerpts from all four parts, vocally crowned by Brünnhilde’s final chant from the Götterdämmerung with Nina Stemme. With her Brünnhilde, the Swedish singer provided the best reviews worldwide – in San Francisco, for example, in 2011, when the New York Times certified her “highly polished brilliance and expressive depth”: “She was committed to every single moment – in every single phrase that she sang Reviews