Wagner: Die Meistersinger
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|1. Die Meistersinger von Nurnberg: Vorspiel - Prelude|
|2. Die Meistersinger von Nurnberg - Act I: Da zu dir der Heiland kam|
|3. Die Meistersinger von Nurnberg - Act I: Verweilt! Ein Wort - ein einzig Wort!|
|4. Die Meistersinger von Nurnberg - Act I: Da war der Ritter ja am rechten Ort!|
|5. Die Meistersinger von Nurnberg - Act I: David! Was stehst?|
See all 17 tracks on this disc
|1. Die Meistersinger von Nurnberg - Act I: Fanget an! So rief der Lenz in den Wald|
|2. Die Meistersinger von Nurnberg - Act I: Seid Ihr nun fertig?|
|3. Die Meistersinger von Nurnberg - Act I: Halt, Meister! Nicht so geeilt!|
|4. Die Meistersinger von Nurnberg - Act I: Doch wird's wohl jetzt mir kund|
|5. Die Meistersinger von Nurnberg - Act II: Johannistag! Johannistag!|
See all 18 tracks on this disc
|1. Die Meistersinger von Nurnberg - Act III: Vorspiel - Prelude|
|2. Die Meistersinger von Nurnberg - Act III: Scene 1 - Gleich, Meister! Hier!|
|3. Die Meistersinger von Nurnberg - Act III: Scene 1 - Blumen und Bander seh ich dort?|
|4. Die Meistersinger von Nurnberg - Act III: Scene 1 - Wahn! Wahn! Uberall Wahn!|
|5. Die Meistersinger von Nurnberg - Act III: Scene 1 - Gruss Gott, mein Junker|
See all 15 tracks on this disc
|1. Die Meistersinger von Nurnberg - Act III: Scene 1 - Die 'selige Morgentraum-Deutweise'|
|2. Die Meistersinger von Nurnberg - Act III: Scene 2 - Sankt Krispin, lobet ihn!|
|3. Die Meistersinger von Nurnberg - Act III: Scene 2 - Als Nurenberg belagert war|
|4. Die Meistersinger von Nurnberg - Act III: Scene 2 - Hungersnot! Hungersnot!|
|5. Die Meistersinger von Nurnberg - Act III: Scene 2 - Ihr tanzt? Was werden die Meister sagen? 'Lehrbubentanz'|
See all 14 tracks on this disc
Cet enregistrement est comme un message d'adieu de Solti à la vie, à la musique. Un symbole riche de sens : Les Maîtres Chanteurs est le seul opéra que le chef d'origine hongroise ait gravé deux fois, à un quart de siècle de distance. En vingt-cinq ans, de l'eau a coulé sous les ponts : Solti a repris goût à l'opéra de Wagner, après l'avoir longtemps tenu à l'écart de son répertoire. Cette version est décantée, musicalement sans reproche, avec ce qu'il faut de vitalité et d'humour. Superbe distribution, qui fera mentir ceux qui jurent leurs grands Dieux que l'interprétation wagnérienne est morte. --Pierre Guillaume
Top Customer Reviews
SOLTI (Decca 452 606-2): My opinion is now rather lower than it was at the time of my earlier review; Solti rushes the Prize Song, which is a serious drawback, even with his excellence earlier in the work; Van Dam is severely lacking in both interpretation and voice, Mattila is wholly inadequate next to her predecessors, Heppner (a once-promising tenor whose voice has gone downhill alarmingly quickly) is beautiful of voice but not ideally ardent interpretatively; all of this puts this recording out of the running for top Meistersinger recording, even with superb work from Opie, Lippert, Vermillion, Pape and the Chicago Symphony forces. ***
JOCHUM (DG 415 278-2): For: superb conducting from Jochum, good work from the Berlin Opera forces, a gloriously lyrical Walther from Domingo, moments of breathtaking insight and beauty from Fischer-Dieskau's Sachs, the greatest Beckmesser on record in Hermann, excellent support from Ludwig, Laubenthal, Lagger. Against: the miscast Sachs of Fischer-Dieskau (lack of weight and authority), the blowsy, wobbly Eva of Ligendza, the RIDICULOUS German of Domingo. I still give it four stars thanks to Jochum.Read more ›
Heppner is, well Heppner. And that's pretty great, in my book. Clearly of the Melchior school, and much better than in the disappointing (at least to me) Met Tristan telecast.
Solti, I think, was more exciting (which is what you go to Solti for, after all) in the earlier recording.
Now, here's the deal. I like the Sawallisch recording better. He is more from the "kappelmeister" school, and less of the "Übermäßiger Stern", if that means anything to you. Heppner is a little freer of spirit, if that makes any sense. And Studer is more interesting than Mattila. I also prefer Weikl here to van Dam. I simply feel its a little late in the game for van Dam. Of course, that's a personal opinion. Isn't that what all music is?
As for the Karajan recordings. I am awed by Karajan's talent. I love his Ring Cycle (except Rheingold). But I think he over refines "Meistersinger" and the undervoiced, overmiked and way over-recorded Kollo is always, at least for me, objectionable. Heppner is much to be preferred, in either recording.
And perhaps one of the recording companies will discover the fabulous American, ROBERT DEAN SMITH, put him in front of a microphone, give him a great conductor and allow him to put to disc the greatest Walther (and Lohengrin and Parsifal and Siegmund) of this generation. Hopefully, soon.
But she also wrote a "So you like to buy a Meistersingers guide" in which, she herself said of the Kubelik, "It is sunk by the unacceptable Walther, the orchestra's overbright, string-dominated sound, and Kubelik's at times sluggish tempi."
First she says the tempi is good and Konya is wonderful. Then she turns around and lambasts the tempi & Konya. What kind of reviewer is that.
On the other hand, here she gives the Solti 3 stars, but there she says "Solti's second set ('Wagner: Die Meistersinger von Nurnberg'), from live Chicago concerts, is more musical but less idiomatic. Every member of the cast offers some of the most solid, beautiful vocalization anywhere in the Meistersinger discography...This will be first choice for many."
Again, totally inconsistent reviews!!
Let me give you a more objective viewpoint. The recording was made from live performances in Chicago's Orchestra Hall in Sep 1995. In the concert performance, the orchestra, soloists and chorus were situated next to each other with little separation. As a result, when Decca's engineers recorded the concert, they would not "separate" the three elements.Read more ›
Most recent customer reviews
First, I'd like to thank the reviewer below, cdsullivan, from Cambridge, Massachusetts, who took the time and energy and talent to write critiques of every CD set available of... Read morePublished on Jan. 13 2002 by MOVIE MAVEN
I find it diffecult to see what this recording should have to offer when compared to Kempe with Grummer, Frantz and the Berlin Philharmonic (excellent mono sound) or Karajan's live... Read morePublished on March 12 2001 by Tommy Nielsen
Die Meistersinger has proved an extremely difficult work to record successfully. This recent Solti recording is definitely valuable, despite its flaws, and of the three I have... Read morePublished on Sept. 13 2000 by firstname.lastname@example.org
Madememusica observes that Rudolf Schock in the "venerable" Kempe recording has the "second ugliest" tenor voice on records--with the strictly-from-hunger... Read morePublished on July 26 2000 by Shaun Greenleaf
I concur with everything Laon from Sydney stated in his most excellent review--one of the best I've seen on this site--but would like to add a few comments. Read morePublished on April 28 2000 by madamemusico
I'm talking here about Solti's second Meistersinger recording, with Ben Heppner.
This is, I believe, the classic recording of one of the two Wagner operas that has so far not... Read more