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Wagner: Götterdämmerung (4 CDs)
 
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Wagner: Götterdämmerung (4 CDs)

27 mai 2002 | Format : MP3

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Détails sur le produit

  • Date de sortie d'origine : 27 mai 2002
  • Date de sortie: 27 mai 2002
  • Nombre de disques: 4
  • Label: Universal Music Division Decca Records France
  • Copyright: (C) 1998 Deutsche Grammophon GmbH, Hamburg
  • Métadonnées requises par les maisons de disque: les métadonnées des fichiers musicaux contiennent un identifiant unique d’achat. En savoir plus.
  • Durée totale: 4:34:25
  • Genres:
  • ASIN: B0025D9BDM
  • Moyenne des commentaires client : 4.3 étoiles sur 5 3 commentaires client
  • Classement des meilleures ventes d'Amazon: 10.193 en Albums (Voir les 100 premiers en Albums)

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Format: Téléchargement MP3 Achat vérifié
Karajan produisit et enregistra « son » ring entre 1966 et 1969 selon une méthode bien rôdée. Enregistrements respectivement réalisés en studio quelques mois avant la présentation de l’œuvre au Festival de Pâques de Salzbourg. Ainsi, le présent enregistrement fűt réalisé à la Jesuschristuskirche à Berlin sur plusieurs sessions programmées entre Octobre 1969 et Janvier 1970. Le résultat, insurpassé, incontestable sur le plan sonore (prise de son fabuleuse) et orchestral, pręte en revanche à critique en ce qui concerne la distribution. Karajan délibérément, offre ici leur chance à des chanteurs sous-dimensionnés et qui d’évidence, peinent à remplir toutes les exigences requises par la partition. L’avantage pour le chef consiste donc ici à s’appuyer sur des chanteurs encore jeunes, malléables, et qui répondent à sa moindre exigence. Nous parlerons donc plutôt de voix très bien modelées à défaut d’ętre convaincantes et émouvantes. Exception : La Waltraute hors pair, d’anthologie męme, de Christa Ludwig, cantatrice chevronnée, d’une expérience, d’une technique et une d’une musicalité vocale hors pairs.
Il en est hélas autrement des autres protagonistes. Non, Helge Brilioth n’est pas un Siegfried, car manquant cruellement de maturité et de moyens vocaux (où sont les Windgassen ou les James King). Non plus, la voix trop fręle d’Helga Dernesch (Brünnhilde) ne peut prétendre vaincre toutes les difficultés (et Dieu sait s’il y en a) de la partition écrasante du rôle.
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Format: CD
Fini en 1874 "Le Crépuscule des Dieux" est l'opéra le plus sombre,le plus complexe et le plus grandiose qu'ait composé Wagner,où chaque pores sonores suintent cette noirceur qui enduit chaque scène et fait de cet opéra l'oeuvre musicale la plus métaphysique,qui la conduit après chaque acte au crépuscule d'un monde,symbolisé par la mort de Siegfried,héros malgré lui d'un idéal en décrépitude.Siegfried,drogué,oubli son amour pour l'ex-Valkyrie,Brunehilde,qui appelant la vengeance aidera les meurtriers de Siegfried à accomplir la perfidie.Dans un ultime sursaut,en apprenant la vérité,Brunehilde,par l'amour rédempteur se sacrifie pour tenter de stopper la malédiction et permettre à l'anneau de retrouver ses origines(Filles du Rhin),avant q'un nouveau cycle ne recommence? La boucle est ainsi bouclé.

En guise de prologue,un mini acte de 40min, dont le prélude funeste annonce la couleur sonore de tout l'opéra:obscur,crépusculaire et épique. Les incantations mystiques des 3 normes et leurs complaintes accompagnent cette musique prophétique et lourde(cd1;1-2),dans cette mise en scène des fondements mythiques des évènements passés,présents et futures.Puis l'action bascule par la fanfare puissante de Siegfried sur une succession de chants fiévreux,extraverti,et cette musique grandiose, ampli de lyrisme dont le chant épanouit de Brunehilde et son amour solaire en est l'apothéose(cd1;3-5).
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Par Nancy le 4 novembre 2013
Format: CD Achat vérifié
Un fleuve musical fascinant. Une version indémodable dans une prise de son superlative.
Ecoutez les choeurs du 2°acte! Une version historique à juste titre
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Amazon.com: HASH(0x92046150) étoiles sur 5 5 commentaires
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x93114ccc) étoiles sur 5 GOTTERDAMMERUNG A MUSICAL TREASURE WITH A CONDUCTOR OF EQUAL STATURE 26 septembre 2014
Par RONALD CORK - Publié sur Amazon.com
Format: CD Achat vérifié
My how does one choose a definite recording of "Gotterdammerung" - The simple answer is you can't - Each version has different areas of excellence and to me Herbert von Karajan brings a lyrical quality to this great musical drama. I find the Brunnhilde Helga Dernesh feminine and vocally secure and Helge Brilioth outstanding as Siegfried. All the cast excel in individual roles and I could type pages of comparisons with other versions however must mention Sir George Solti in his famous set commencing with "Das Rheingold" recorded in 1958 which then showed the world the advantages of stereo recording. This famous cycle has many magical moments also and as I said at the start of this review one cannot compare excellence as all versions have different qualities. My only slight disappointment is DGG's decision to enclose the CD's in paper inserts - A plastic cover enclosed would help protect each CD more over many years of use................With this opera so many choices - Mine are this version plus the Solti - Both desert Island material.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x93114f18) étoiles sur 5 One of the great Götterdämmerungs 29 juillet 2014
Par pekinman - Publié sur Amazon.com
Format: CD
This Karajan Götterdämmerung has long been a great favorite of mine, unlike the other three operas in his DGG Ring cycle based upon Salzburg productions in the late '60s. And my opinion of two of the other three operas in this set has changed dramatically since recently re-listening and reassessment of those recordings, after having lived with them for decades.

As a youngster I was easily impressionable, and swayed by bad advice from the likes of the 'experts' at Gramophone magazine and, most egregiously of all, the incredibly over-rated Penguin guide. It took years for me to develop enough trust in my own instincts to go out and buy recordings simply based upon preferences I have for certain conductors, singers, orchestras and even recording companies, and that last group much dependent upon the era in which the recordings were made. All the major companies have gone through ups and downs in their quality and you have to be educated, by experience mostly, in which recordings are worth purchasing. A badly engineered Ring cycle, for instance, is an expensive waste of money. This DGG Ring cycle from which Karajan's Götterdämmerung emerges, is about the most gloriously engineered set of operas I can think of, yet that same company 20 something years later, made an almost unlistenable Ring cycle for Levine in New York, glassy sounding, shallow and harsh. The Metropolitan Opera house may have been much of the problem as it was still unfamiliar territory for the Germans, unlike the Jesus-Kirche in Berlin where this cycle for Karajan was recorded.

This Götterdämmerung features some stunning, moving performances, notably from Helga Dernesch's beautifully done Brünnhilde, Christa Ludwig's eviscerating Waltraute (their scene left me a chocolatey mess on the floor), Helge Brilioth's understated but masterful Siegfried and, most outstanding of all, Karl Ridderbusch's awesome Hagen. I had forgotten what a great and beautiful bass voice can do in the role of Hagen. Most basses take the brutal road and stun the listener with over-powering force and fierce projection of the text. Ridderbusch does all that too but he's also SEXY and sensitive and cunning like no other. Matti Salminen (Janowski I, Levine), John Tomlinson (Haitink), Aage Haugland (Solti Bayreuth '83) and Gottlob Frick (Solti '65) are all great Hagens, but Ridderbusch is fascinating as well as frightening and over-powering. His performance smacks of one of the great Shakespeare villains, only much more subtle.

Helge Brilioth, the fine Swedish tenor, replaced Jess Thomas, the GREAT American tenor who recorded Siegfried in this cycle. I don't know why Thomas was replaced, I've heard several anecdotal stories, but Brilioth is a fine substitute. Like Dernesch who replaced Régine Crespin after her superb Walküre Brünnhilde, Brilioth's voice possess a similarity in tonal qualities and power possessed by Thomas and the switch of singers in this role is less annoying than it usually is in other cycles where singers come and go in the same parts. Almost all Ring cycles have these changes, very hard to avoid in the world of professional opera and recording. I suppose we are fortunate to have ANY opera recordings given the vagaries of singers' temperaments and viral infections and tax collectors prohibitions of talent from entering the country for one monetary reason or another. What a world!

The Prologue to Act I begins with a very strong trio of Norns, all singers in the prime of their vocal careers, Lili Chookasian, Christa Ludwig and Catarina Ligendza. I can imagine a more exciting soprano than Ligendza who possessed an odd sort of Scandinavian voice with a strange neutral flatness to the tone, yet, it still rings excitingly. I like the 3rd Norn to be a young Brünnhilde in the making. Ligendza was just that, which is reward enough, but she lacks the last ounce of spine-tingling PING at the top. The other two are among the best singers to have recorded these fascinating roles. The love duet, the 2nd one following closely on the heels of the one in Siegfried, is pretty wonderful. I prefer Jess Thomas's ringing voice to Helge Brilioth's more opaque sound, but he is still excellent. Helga Dernesch moves from strength to strength following her exciting Siegfried duet. There was something in her voice that had what Wagner liked to call Weiblichkeit, or, roughly translated, Womanliness. Birgit Nilsson did not have this quality, being so steely and over-powering, almost a bully, but Dernesch, like Flagstad and Crespin, embodied that golden glowing femininity coupled with power and intelligence that I prefer in this role. Though I will never part with any of the Nilsson recordings simply because of the thrilling power of her unique voice, and the shining cutting top notes matched to a solid middle and lower voice that she could reduce to pianissimo, believe it or not, and a very feminine-esque sound, I think I will turn to Dernesch's performance more often in the future.

The Love Duet between Siegfried and Brünnhilde is exciting and gets the blood churning with Karajan's inexorably forward momentum and attention to orchestral detail. The ecstatic, joyous element in Dernesch's voice lifts this rendition to a higher plane than usual. The Rhine Journey is vividly conveyed, cinematic even. Karajan accentuates tiny details in the orchestration to illustrate things like water splashing in the hero's face (the glockenspiel) and the tricky transition from the rapids to the wide flowing stream of the Rhine.

Act I introduces Thomas Stewart's very fine Gunther. I prefer him in this part over Wotan simply because Gunther is a true baritone role, Wotan is more effective with a bass-baritone. Then there is the aforementioned glorious Karl Ridderbusch's Machiavellian evil Hagen. Gundula Janowitz is more successful as Gutrune than she was as Sieglinde, though she's still too simpering and 'innocent' for my tastes in this role. I think Gutrune is NOT an innocent, but a complicit pawn, a conniving desperate woman. Martha Mödl got it down pat for Knappertsbusch at Bayreuth in 1951. She wasn't just a spoiled sheltered princess desperate for a man. Mödl's Gutrune wanted power too, like her brother. There are no innocents in Wagner's Ring, except possibly the Woodbird, the only 'animal' in the cast.

Christa Ludwig's Waltraute is devastating. This is a gem of a part for a great mezzo-soprano and is often the highlight of Act I. However, it isn't all that easy to pull off and very few have won the cigar for taking the listener to a level of gape-mouthed sobbing. Ludwig does, so do Hanna Schwarz for Levine, Brigitte Fassbaender for Solti in 1983 at Bayreuth, and Waltraud Meier, but not as much, for Haitink. Meier tends to over-egg the pudding which feels manipulative, the trap in this scene. Many fall into that trap, as great as their singing may be.

Act II is another one of those great Wagner Acts, like Act II in Siegfried. The kernel of the piece. Zoltán Kélémann's wheedling Alberich appears as a nightmare to his sleeping son, Hagen. Ridderbusch is masterful, sounding as if he really is singing in his sleep. He is very quiet and distant, yet the voice is firmly founded in well-supported breath and possesses a deep resonance, ominous and mysterious.

Alberich disappears and then there is the glorious sunrise with all those horns and Wagner tubas. Siegfried returns and Hagen roars out the over-whelming Call to the Vassals. Ridderbusch is wonderful here. However,
I still place Matti Salminen's rendition for Marek Janowski's first cycle in Dresden in 1982 as hors concourse in this scene, hair-raising is the only word for that great Finn's singing. But Ridderbusch isn't far behind. When Siegfried chastises Gunther telling him to 'control his wife' (Brünnhilde) there is a very tricky high note that catches many a tenor short of umph. On the lines Wen die Minne freut, meinem frohen Mute Brilioth nails it! Few have done that, even in a studio recording. Great tenors like Siegfried Jerusalem and Wolfgang Windgassen have splattered it, and even if they managed to hit the note, still sounded psychologically tentative and phobic about it. It's a horribly exposed high c leapt up to from from a 4th below and a drop of an octave. Wagner could be a bastard to his singers sometimes, well, more often than is comfortable for them, hence the difficulty of these roles.

The Vengeance trio is superb as well, a raging cyclone of sound and passion. For once the three voices are evenly balanced due to Stewart's very strong Gunther. That role is often cast with a 2nd string baritone who just can't compete with top drawer world class singers as Brünnhilde and Hagen.

Act III begins with the beguiling scene with the Rhine Maidens and Siegfried. The lovely ladies begin the scene sounding like they were standing in the ladies restroom of the Jesus-Christ Kirche. Suddenly, after Siegfried's horn call and the jaunty violin swirls, they are full in the aural face. The only slight complaint I have about DGG's engineers is that they were a little too fond of the echo chamber effect for Erda, Norns and Rhine Maidens or anyone deemed Magical or Mysterious. But EMI was even worse for Haitink's poor Erda who sounded like she was singing from the bottom of an empty mine shaft, not entirely inappropriate I suppose, but it is too much.

Brilioth's death scene is profoundly moving. There is nothing exaggerated or geared to manipulate desired emotions from the listener. His awe at realizing WHO Brünnhilde is after he has drunk the antidote to the 'love' potion number 9, is hypnotic. I could see his face as he sang his words. His dying words are not crooned, ala Siegfried Jerusalem or René Kollo, or sobbed, like many other less subtle singers, but almost sighed. Beautiful singing. A very distinguished performance from an under-recorded tenor.

Karajan's Funeral March and Immolation are incredible. The march is profoundly mournful but does not drag along or resort to over-whelming bombast, something Solti does a little bit on his recording, though it is immensely grand. So is Karajan's but it doesn't wear its heart on its sleeve quite so much.

I could hardly breathe listening to Dernesch's Immolation. I love Birgit Nilsson but she's an entirely different species of Brünnhilde. I think I might now prefer Dernesch's type. She had power and volume equal to Nilsson's, plus incisive diction and rhythmic sense and dramatic purpose in her word-pointing, and she had something else that Nilsson sometimes lacked... heart. And no one quite catches your soul as Dernesch on the words 'Ruhe, Ruhe, du Gott!' Yes, Nilsson had those laser high Cs, Dernesch's are powerful but do not open out quite as much as the great Swede's but they are equally stunning. Coupled with Karajan's symbiotic relationship with the Berlin Philharmonic, who play like it was their last day on earth, not even Solti and Nilsson can match the cathartic impact of this massive and magnificent closing scene of one of the greatest human artistic creations.

Buy this Götterdämmerung. Better yet, buy this entire Ring cycle. From now on, now that I have rediscovered it after a long hiatus, it will be my go-to Ring cycle, except for Das Rheingold, to which Solti still holds the crown.
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x9229d174) étoiles sur 5 A fitting conclusion to a now historic "Ring" recording 18 mars 2015
Par Ralph Moore - Publié sur Amazon.com
Format: CD
I have been re-visiting all four recordings of Karajan's "Ring", some of which I haven't heard since I owned it on LP in the Middle Ages, and I have of course discovered that it is by and large so very much better than received critical opinion would have it both then and now. The only casualty has been my continued antipathy to Fischer-Dieskau's fussy, under-powered Wotan in "Das Rheingold"; otherwise I am delighted with the singing, conducting and orchestral playing, all enhanced by the re-mastering.

Certain weaknesses persist but they are only relative. Dernesch is shrill and over-parted in the upper stretches (and I use the word advisedly) of her role but is also womanly, impassioned, very human and the possessor of a warm, vibrant soprano that we would be glad to hear today. Brilioth is no slouch as Siegfried and the replacement for Jess Thomas, whose contribution to "Siegfried" I have also greatly revised upward. He lacks penetration but is steady and attractive of tone, rather more lyrical than some and none the worse for that. Ludwig is a tower of strength, doubling as a grave Norn and an anguished, desperate, melancholy Waltraute. I love Gundula Janowitz's silvery, faintly tremulous, very vulnerable Gutrune and of course Zoltan Kelemen's cameo as Alberich is a gem - but the real triumph is the gorgeously sung Hagen of Karl Ridderbusch. It can be argued that his sound is intrinsically too noble but he turns that to his advantage, using his smooth, purring bass and formidable upper extension to turn Hagen into a sinister, scheming Iago rather than an overtly malevolent, brutish bully of the Frick school. His sleepy half-voice when his father visits him in his slumber is both mesmerising and a vocal tour de force. In voice type, he is the forerunner of Kurt Moll, who similarly has trouble playing villains because he invariably sounds more like a benign Sarastro. The same accusation of being vocally unsuited to Gunther could be could be levelled Thomas Stewart's similarly heroic bass-baritone but he sings superbly and makes a really rounded character of that craven chieftain.

It is true that Karajan's conducting does not generate the visceral thrill of Solti's version - the latter's desire to crank up tension as opposed to bringing out the sheer lyricism of Wagner's score is obvious - but Karajan's insistence upon but the sheer beauty of the BPO's sound is a marvel in itself and there are compensations when the subtleties of the music score are given their due - although I am not suggesting that Karajan cannot create real impact, as Siegfried's funeral music is overwhelmingly grand.

I have read one or two absurdly negative critiques of this profoundly intelligent recording but agree with reviewers who maintain that there is surely room in the world - or at least in any Wagnerian's collection - for two such different yet equally compelling accounts as those by Solti and Karajan here. I listen to both with almost equal pleasure but would ultimately plump for Solti as first choice simply because Nilsson, Frick and the conductor create such excitement in key scenes such as that when Brünnhilde, Hagen and Gunther - with D-F-D much better cast there - swear vengeance upon Siegfried in the scintillating trio that closes Act 2. Yet that same scene still comes off well under Karajan and I don't want to exaggerate any supposed lack of intensity in his recording.
10 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x9229d4d4) étoiles sur 5 I am floored by the sheer majesty of this recording! 8 mai 2013
Par Christopher Barrett - Publié sur Amazon.com
Format: CD
I know Karajan divides listeners with his Opera conducting. I'm an equal opportunity listener, so I give each conductor their fair shake. Granted, Solti is across the board the best, and his complete Ring Cycle from Decca is one of the reasons humans have ears; but without making comparisons, this is an amazing version of Götterdämmerung.

Again, this may not be the best version out there, but it is surely deserving of five stars. I actually have a slightly older printing of this set, but it is the same exact recording, just different cover art.

One thing I love about this opera as well, is that this is a great way to get folks to love opera AND Wagner. Again, I won't bore folks with the details. Just suffice to say this is among my favorite Wagner operas. It's dramatic without being to heavy and depressing.

Now I love opera, but I am not a student of music, so I cannot get too specific about any details, but as a well versed listener of classical music, and of opera. Again, folks will enjoy various versions more than others, but I wholeheartedly recommend Karajan's version of this opera. And the recording quality (and digitizing) of DG is stellar, as always.
HASH(0x9229d6f0) étoiles sur 5 My or my, Yes, this is how it is supposed to sound. 25 juin 2015
Par Brian C in Texas - Publié sur Amazon.com
Format: CD Achat vérifié
I hade the whole H v K Ring recording on black disc, and the newer mastering is much improved. What an orchestra, and what singers ! What was the rest of Helge Brilioth's career like ?
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