Wagner: Die Walküre [LSO/Leinsdorf, Nilsson, Vickers, London)

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Brünnhilde: Birgit Nilsson
Siegmund: Jon Vickers
Hunding: David Ward
Wotan: George London
Sieglinde: Gré Brouwenstijn
Fricka: Rita Gorr
and Noreen Berry, Marie Collier, Joan Edwards, Margreta Elkins, Maureen Guy, Julia Malyon, Judith Pierce, Josephine Veasey
London Symphony Orchestra / Erich Leinsdorf

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1 июн 2019

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Комментарии : 116

@riccardowarwick 3 года назад

Min. 1:00:28 Act 2 Min. 2:28:10 Act 3

@Dylonely42 8 месяцев назад

Thank you.

@BernardSAUSSAIE Год назад

00:00:00 1. Akt_1. Orchestervorspiel 00:02:42 1. Akt_2. Wes Herd dies auch sei...Kühlende Labung gab mir 00:15:00 1. Akt_3. Müd am Herd fand ich den Mann 00:19:38 1. Akt_4. Friedmund darf ich nicht heißen...Aus dem Wald trieb 00:29:06 1. Akt_5. Ich weiß ein wildes Geschlecht 00:33:59 1. Akt_6. Ein Schwert verhieß mir der Vater 00:39:25 1. Akt_7. Schläfst du, Gast? 00:40:25 1. Akt_8. Der Männer Sippe saß hier im Saal 00:45:58 1. Akt_9. Winterstürme wichen dem Wonnemond 00:48:56 1. Akt_10. Du bist der Lenz 00:56:14 1. Akt_11. War Wälse dein Vater 00:56:55 1. Akt_12. Siegmund heiß ich und Siegmund bin ich 01:00:35 2. Akt_13. Vorspiel 01:02:34 2. Akt_14. Nun zäume dein Ross, reisige Maid 01:03:45 2. Akt_15. Dir rat' ich, Vater, rüste dich selbst 01:05:23 2. Akt_16. Der alte Sturm, die alte Müh' 01:09:40 2. Akt_17. So ist es denn aus mit den ewigen Göttern 01:14:53 2. Akt_18. In wildem Leiden erwuchs er such selbst 01:18:05 2. Akt_19. Was verlangst du? 01:22:52 2. Akt_20. Schlimm, fürcht ich, schloß der Streit 01:23:55 2. Akt_21. O heilige Schmach!...Laß ich's verlauten 01:26:21 2. Akt_22. Als junger Liebe Lust mir verblich...Ein anr'res ist's 01:43:33 2. Akt_23. O sag, künde, was soll nun dein Kind?...So sah ich 01:50:57 2. Akt_24. Raste nun hier; gönne dir Ruh! 02:01:49 2. Akt_25. Siegmund! Sieh auf mich!...Du sahest der Walküre sehren 02:18:42 2. Akt_26. Zauberfest bezähmt ein Schlaf 02:22:28 2. Akt_27. Kehrte der Vater nur heim 02:23:24 2. Akt_28. Wehwalt! Wehwalt! 02:26:18 2. Akt_29. Geh' hin, Knecht! Kniee vor Fricka 02:28:10 3. Akt_30. Hojotoho! Heiaha! 02:35:18 3. Akt_31. Nach dem Tann lenkt sie das taumelnde Ross 02:36:28 3. Akt_32. Schützt mich und helft in höchster Not 02:39:47 3. Akt_33. Nicht sehre dich Sorge um mich 02:41:57 3. Akt_34. So fliehe denn eilig und fliehe allein! 02:45:07 3. Akt_35. Steh' Brünnhilde! Wo ist Brünnhild'? 02:49:58 3. Akt_36. Hier bin ich, Vater 02:59:45 3. Akt_37. War es so schmählich? 03:02:49 3. Akt_38. Als Fricka den eignen Sinn dir entfremdet 03:08:29 3. Akt_39. So tatest du, was so gern zu tun ich begehrt 03:12:25 3. Akt_40. Wohl taugte dir nicht...Deinen leichten Sinn 03:16:15 3. Akt_41. Und das ich ihm in Stücken schlug! 03:20:08 3. Akt_42. Leb wohl, du kühnes, herrliches Kind 03:24:50 3. Akt_43. Der Augen leuchtendes Paar 03:31:33 3. Akt_44. Loge, hör! Lausche hieher!

@Dylonely42 8 месяцев назад

Thanks !

@finylvinyl66 2 года назад

George London sure sounds like a god to me.

@richardallen3810 3 года назад

First heard this as 16 yr old boy. As thrilling now as then. The genius of Wagner in creating Act1 alone has to be an hour of perfection. The way he builds on the arc of sound toward the rapturous final minutes continues to astonish me. To here it live is another added level of bliss.

@giannizeno2879 3 года назад

Nilsson, Gorr and London are epic in this recording.

@terryhammond1253 4 года назад

I have known this incredible recording for 50 years. It is still number one.

@Balakirev_ 3 года назад

definitely

@plastique45 2 года назад

WOAHHH, that intro and that tempo! The speed, the wind, the fire! This is the best version I've EVER heard!

@Blokewood3 2 года назад

Yeah, this is my favorite too. This is the only Act 1 overture rendition I've heard that has a real sense of urgency.

@tenorette2003 3 года назад

I love Brouwenstijn's voice! This singer is so underrated

@vilebrequin6923 2 года назад

You are so right! A stalwart of Bayreuth throughout the '50s and '60s...

@Twentythousandlps 7 месяцев назад

So underrated she's not listed on the album cover!

@JWP452 Год назад

This might be the most perfect Walkure ever recorded.

@volvodadfast 2 года назад

I discovered the vinyl set of this recording in the college library and listed to it repeatedly. I always regretted not being able to find a set of my own so it is nice to be able to listen to it again here.

@bignickfromcleveland9104 4 года назад

A True Gem. Passion and Precision. Such a rare combo. Leinsdorf, the London Symphony, Nilsson, and Vickers......Takes the breath away.....

@paullewis2413 3 года назад

Overall the best recording of all but I prefer to James King in the Solti recording to Jon Vickers as much as I admire the latter. Having said that, what the hell, in an age when a cast like this is literally impossible we can be thankful for the technology of recording that existed in the golden age of opera.

@allenjones3130 2 года назад

It was via this classic studio recording (first issued by RCA Victor Records) that I became familiar with "Walkure".

@wotan10950 2 года назад

I bought this album during my college years, and it has always been one of my favorites, far FAR more than Solti. To begin with, it’s much more realistic of the sound in a theater, not in a studio. I had the privilege of seeing Nilsson a handful of times before she retired, and she simply didn’t sound like the voice on the Solti/Culshaw. Nilsson also dismissed Culshaw’s tricks in many interviews. At any rate, I’ve returned often to this recording, which boasts an absolutely extraordinary cast. But I’m not one of those fans who dwells only on old records. I’ve enjoyed many live Walkure performances, especially the ones conducted by Levine. His casts included Behrens and Jones, who despite their vocal issues, gave overwhelming vocal and dramatic portrayals. His Sieglindes included Norman and Voigt, who were both extraordinary singers in their prime. The tenors were less memorable but, having seen Vickers on many occasions, his live performances didn’t measure up to his recordings, vocally anyway; his acting always remained searing. The Frickas included Ludwig and Blythe; you can’t get much better than that. And the Met’s (and many other great theaters and record labels) go-to Wotan was James Morris, who I think was THE Wotan, certainly since Hotter’s prime (which didn’t last up to Solti). In the theater, that voice, that carriage, that rage, that pain, that regret - it was all there.

@richardlevin9907 Год назад

Dave, I heard Vickers as Siegmund, as well as in other roles in the early 70s (Tristan, Peter Grimes, Aenee) and I have not heard a dramatic tenor of his caliber since, the closet in my judgement being Kaufmann. You are right this recording has less of the polish of the Solti and Karajan, but the latter has Vickers and is my go-to studio recording. I think London has a truly amazing bass-baritone sound. I wish I could have heard him live.

@jdeeside 11 месяцев назад

Behrens was brilliant and underatted as Brunhilde but she was almost blown off the stage by Jessye Norman in Act3! O Herste Wunder never sung better!

@wotan10950 11 месяцев назад

@@jdeeside Ouch! I respect your opinion, but I really disliked Norman. Sorry! Yes, glorious voice, if you wanted to hear what the Statue of Liberty sounds like! I never believed her in any role, except perhaps Cassandre. As Sieglinde, who can believe she’s a traumatized young wife - she would’ve punched Hunding right in the kisser!

@jdeeside 11 месяцев назад

@@wotan10950 but isn't that the fun of it?! The entire story is bonkers so for me it's all about the sound, and no-one has ever sounded better in that moment than Jessye Norman! It's an ocean of sound. Of course Levine was never going to restrain her, he just spoiled her. Maybe he knew she was the last in a long great line of Wagnerian/Strauss Divas?

@terryhammond1253 4 года назад

The best Walkure of them all.

@alvisebadoero7015 2 года назад

Great cast !!! George London is a fantastic Wotan !!

@BenEmberley 2 года назад

The only person who could hold a candle to London as Wotan/Wanderer was Hans Hotter. No-one else came close ^_^

@ValzainLumivix Год назад

@@BenEmberley Ferdinand Frantz was great as Wotan.

@rwagner83 3 года назад

one of the best performances ever made

@courseexercises6811 4 года назад

Just filling in a bit more specific information for this recording: it is from 1962; Walkyries as follows: Gerhilde: Marie Collier; Ortlinde: Julia Malyon; Waltraute: Margreta Elkins; Schwertleite: Joan Edwards; Helmwige: Judith Pierce; Siegrune: Noreen Berry; Grimgerde: Maureen Guy; Rossweisse: Josephine Veasey

@paullewis2413 3 года назад

Many of these singers would have been familiar to audiences at Covent Garden in the early 60's. The golden age of opera now gone forever but fortunately preserved for the future by the recording industry.

@wilsonwatt9283 3 года назад

@@paullewis2413 Yes Covent Garden nurtured many talents. It was six years later when I saw Marie Collier as Tosca there. She was extraordinary. It is so sad that she died so young.

@jasonhurd4379 3 года назад

@@wilsonwatt9283 And the way she died...horrifying...

@pony7752 4 года назад

I wish there were a video of this performance ❤️

@xxsaruman82xx87 2 года назад

Unfortunately this is a studio performance, not live, so if video existed it would be of Nilsson, Vickers, Leinsdorf and co in the recording studio :)

@hansjurgenochsenfahrt6176 2 года назад

Look here - about the condition and the engagement of the production.... Wagner The Golden Ring Historic 1964 Bbc Film On Sir George Solti's Recording Kvcd 224Kbaudio 704x480.avi - even here on youtube....

@xxsaruman82xx87 2 года назад

@@hansjurgenochsenfahrt6176 This is the Leinsdorf recording, not the Solti. Love that documentary though :)

@hansjurgenochsenfahrt6176 2 года назад

@@xxsaruman82xx87 sorry - and Thank You!

@andreysimeonov8356 5 лет назад

One of the best performances of this glorious work I've ever heard! Brilliant!

@garfreed 3 года назад

One of the greatest Wagner opera recordings! Classic!! Perfection!!

@marcoantoniofalquete557 3 года назад

@@garfreed And what a Decca sound !! better than Solti's.

@jmahlon 2 года назад

My favorite studio recording of Die Walkure!

@jgesselberty 2 года назад

So often, in Wagner, the brass gets all the attention. Just listen to the woodwinds, especially in the closing bars. Each note is distinct and the flickering flames are in the mind's eye. You can feel the warmth. Leinsdorf's Wagner is a worthy challenger to the much-acclaimed Solti Ring of the day.

@luanllluan 2 года назад

Although I worship his Rheingold, I cannot listen to Solti's Walkure anymore. every listening I get more and more unconfortable with his loudness. there is nothing sublte, the brass is the only thing to be heard. And Nilsson is so much more relaxed here. a true winner for me.

@extrasalt4595 3 года назад

Maestro Leinsdorf' s conducting is wonderful! Hoomeyow!!

@mk5244 3 года назад

...times of luxurious overflow....The Brünnhildes you had during those times, the Siegmunds, London and Hotter as Wotans!! Vickers doesn’t start full throttle, Cantare! Awesome performance under Leinsdorfs magic aura. Mi piace moltissimo.

@paullewis2413 3 года назад

For sure Opera is all but dead now very very few singers capable of performing their roles with anywhere near the quality of the 50's and 60's.

@davy91101 3 года назад

I wrote of my appreciation for this performance last night but it seems to have disappeared, so I will try again. This was my first purchase of a Ring Opera; the packaging was deluxe and the pressings were pristine. I remember that the initial reviews found much to praise but also found faults. Leinsdorf was not a critical favorite even though he worked at Salzburg with Toscanini. Vickers, Brunstijn (I know I am not spelling her name correctly) make for a potent first act. Only David Ward disappoints with his very soft voice when the role calls for menace, but the Brits were kind to him as I recall in the Gramophone review. Gorr like Gre was underrated underrecorded. Listening again to Ward I cannot object to Ward and he sings beautifully. Nilsson was of course superb; only Varnay trumps her in the Annunciation of Death scene. All in all a great performance.

@georgesclermont1911 8 месяцев назад

Who would dream of such a cast? And yet, there it is.

@franzleiermann4955 2 года назад

This recording can be listened at spotify, in premium quality sound.

@richardlevin9907 2 года назад

Stunning cast unlike any since really (or maybe any before); somehow London never got quite the same recognition as Nilsson and Vickers and I don't know why.

@BenEmberley 2 года назад

Just needed Gottlob Frick or Josef Griendl as Hunding, and Nadine Secunde as Sieglinde, and this would have been a faultless cast!

@fajeartha Год назад

It is always a pleasure re-hearing a performance/recording from years past, especially one as exciting and well-recorded as this one! It's almost like listening to this opera again for the first time. Certainly, a must-have for any opera collection

@BenEmberley Год назад

......if only London and Vickers had sang together as Amfortas and Parsifal. THAT would be something worth being born for ^_^

@igorpanov1245 3 года назад

Definitely the best.

@killmrdarcy4367 4 года назад

Mein Gott this is good, and although I'd known about it for many years, I hadn't realized how superb it is until rehearing it again here. From start to finish - while the Act 1 prelude must surely be one of the most urgent and exciting ever recorded through to Wotan's commanding and genuinely god sounding Abschied - this recording radiates character and commitment by all of thosewho were connected with it. One wishes that Leinsdorf might have recorded more Wagner, while we can at least thank the godsafter this incredible document was put onto vinyl - if only for the Act 3 which features Nilsson and London; indeed this further to the only other Wotan who really sounded like a god: Yes, Hotter, while HE DOES still sound like one in the Solti recording! Thank you for posting, while it's also good to hear the two Australians that are in the Walkuren cast: Marie Collier and Margreta Elkins.

@rossmerchant8435 4 года назад

He has a lot of live Met recordings of Wagner. My particular favorite is the '41 recording of Walküre with Astrid Varnay's operatic debut at age 23 (!). Imagine at first being disappointed at not getting to hear Lotte Lehmann, but then instead getting to see the beginning of one of the most storied Wagnerian careers in history. There's also a good '40 Walküre and '41 Tristan both with Flagstad and Melchior. Although I'd say, pre-war Leinsdorf is a bit too fast for my taste

@bigcedock 4 года назад

Agree this is a fine recorded performance, and Mr Leinsdorf was a fully credentialed Wagner conductor, no question. Interesting that you do not mention Mr Vickers’s Siegmund. How can anyone make Siegmund sound so prissy, and then, positively sinister?? Add his Canadian German accent and ... well, just sayin’.

@killmrdarcy4367 4 года назад

@@rossmerchant8435 Thanks for this advice Ross, given that I was only aware of Leinsdorf''s studio recordings, while I'll check these out. Varnay was indeed one of the jewels in the Brunhilde tiara as were too, my Australian compatriots Marjorie Lawrence and Florence Astral. If you know of any live recordings featuring them, please let me/us know. Although I never got to hear Nilsson - while her voice was actually the first one ever heard in the Sydney Opera House at its opening in in 1973 (with a video and recording now being available) - I did get to hear/see Leonie Rysanek's Sieglinde in, I think, Melbourne in the early 1980's, while the aforementioned Margreta Elkins was the Fricka in that production. ...By the way, I think that the measure of a godlike Wotan is that heldenbaritone who can make you think of those fantastic Arthur Rackham pictures as you listen to his voice. Certainly Hotter (despite the flaws in the Solti recording) and London do that - and perhaps too others such as Schorr and Edelmann et.al. - while as much as I adore James Morris, he and his modern Wotan confreres - despite Donald McIntyre - (while Robert Hale is an extremely underrated Wotan!) 'don't quite', at least for me, sound like gods!

@killmrdarcy4367 4 года назад

@@bigcedock Although I am not able to decode your subjective references, I agree that Vickers is not the most ideal of Sigmund's, while given his heaviness, he'd of course be less convincing as Siegfried! His 'Wintersturme' (to take a far more obvious example) is a world away from the lyricism of say, Ludwig Suthaus, even if Vickers nevertheless does justice to the role given the 'full blood' he sheds, while his Siegmund is sung with conviction and intelligence and is also sensitive to Brouwenstijn's magnificent Sieglinde, while her performance here is, in my view, one the very best and most underrated on record!

@rossmerchant8435 4 года назад

@@killmrdarcy4367 Unfortunatley, I have never been able to suffer through the primitive recording quality of Austral's recordings. Regarding Marjerie Lawrence, I believe most of her recorded legacy is in Wagner. I'm aware of a recording of her in Parsifal as Kundry, in French, but haven't listened to it. There's a Walküre she did in '41 with Leinsdorf and a stellar caste (only recording I'm aware of with all 3 acts of Lotte Lehmann's Sieglinde). The essential recording of Lawrence in my opinion is the '36 Bodanzky Götterdämmerung. During the Immolation scene of this performance, she actually jumped on a live horse and rode it bareback into the funeral pyre like the libretto calls for. I'd imagine that, due to safety concerns, this is a feat that will not be seen on stage again. Also, I've often read people describe Suthaus as "dry-voiced," so it's nice to know that I'm not crazy and that other people instead hear a voice that's ardently lyrical with a melting legato

@loboestepario2424 3 года назад

How did this came to my RU-vid feed? This recording is my favorite Walkure ever since I heard it 10 years or so ago!

@vegtamvanderveg 3 года назад

OMG!! THANK YOU for this!!

@AlmavivaOperaReviews Год назад

Thank you for this!

@romearomeo 4 года назад

Sublime! Divino!

@antoniogomes-wq6kf 3 года назад

Thanks for this Fantastic Recording!!!

@mohsenarambon 3 года назад

Thanks Great

@marcobardeggia50 7 месяцев назад

Fantastic

@michelbernardo6087 Год назад

J’ai l’enregistrement TESTAMENT 4 CD’s first stéréo Ring cycle stage festival for 3 days du lundi 25 juillet 1955 au Festspielhaus Bayreuth , direction : Joseph Keilberth avec : A. Varnay , H.Hotter , R.Vinay , Gré Brouwenstijn J.Greindl , V.Milinkovic Grand moment de cette glorieuse épopée , Avec les chants aux sommets

@danielecornaggia6283 2 года назад

registrazione leggendaria!....Nilsson arriva da altro mondo e non solo lei....tutto irraggiungibile ! la meraviglia assoluta..

@Dylonely42 8 месяцев назад

This is great.

@Yves_Ka 3 года назад

I had forgotten about this marvelous recording. Leinsdorf conducting is riveting! I really dont think ANY other Walküre recording comes close to the drama and excitement Leinsdorf stirs up here. I have always been a huge fan of Vickers' Siegmund. Together with the incredible London, Nilsson and Brouwenstijn this must be one if not THE finest recording of Walküre. (DECCA also got the acoustics with Nilsson so right this time - she was not always easy to record) The only singer I dont care much for is Gorr. I find her fluttering voice terrible irrittating.

@joedeegan3870 3 года назад

This came on 5LP with a nice Booklet as part of RCA Soria Series.

@fernandofernandezgar 3 года назад

Super, super, super.

@paullewis2413 3 года назад

I've always considered the Solti recording to be the overall definitive but it does suffer a weakness in Hans Hotter who was well past his prime. This recording is perfect in its casting and has now become my number 1 choice.

@killmrdarcy4367 3 года назад

Hotter may have been 'past it' in the Solti Paul, but if there is one flaw (at least for me) in this recording (and its a small one), it's that London doesn't come anywhere close to the interiority that Hotter gives to Wotan's Act 2 'narration' given his many decades of experience in the role that he made his own, and too, his presumably older age wisdom's in 1965.

@paullewis2413 3 года назад

@@killmrdarcy4367 I appreciate your point about Hotter, I'm not suggesting of course that he was anything but a great experienced singer. However the beat that developed in his voice is something I find off putting. Subjective of course because many people may not be concerned about this.

@thescientificmusician3531 3 года назад

There is a 1955 recording of the "Ring" you can get on Testament cond. Keilberth in excellent sound with Hotter in his prime.

@killmrdarcy4367 3 года назад

@@paullewis2413 I think that it's important to remember that Wagner is not meant to have voices that always sound 'legato beautiful' (e.g. James Morris) or are without vibrato, while there is much more to a voice than just beauty of tone, and this in the same way that so much of Beethoven's music (especially that in those years from around the time that he wrote the Hammerklavier) is not mean't to sound beautiful - indeed something which Furtwangler knew in the case of the symphonies further to Karajan's later distorted obsessions with Beethovenian sound. The fact is that Hotter could still sing the role in 1965 and do it justice (even if not as 'beautifully' as before) while in Solti's D.W., he invests it with bucket loads of interpretation - even if within the whole Solti Ring project, he is at his 'age-ed' best as the old(er) Wotan in 'Siegfried'. That said, his Abschied is monumental, while further to me using a lot of Wagner in my psychotherapy work (while Hotter's Wotan in particular comes in handy as he relates to men who are undergoing mid-life crises!), and as an ex-singer myself, I am very grateful that Decca decided to use Hotter in 1965 - albeit this, for commercial reasons - rather than going with Edelmann!

@killmrdarcy4367 3 года назад

@@thescientificmusician3531 Thanks for the reminder (yes, a great document indeed), while the true test of a great singer and a recording (as with this one) is that it lifts the listener to greater levels of consciousness and hopefully within that, self understanding further to the parlour games that so many often atomised persons play concerning who are better singers than others, and what the best recordings are etc. If anything, Wagner 'should' teach us to live boldly and courageously, while potentially opening us up to realms of experience that we might not otherwise have known, and therein a sensibility which bring us back to a better and more authentic relationship to both ourselves and also too, other persons.

@tenoremodernotecnicavecchi2151 2 года назад

34:30 ein Schwert

@dabedwards 3 года назад

Is that a wind machine I can hear in the prelude to Act 1?

@janebeaton9799 3 года назад

Yes, I heard that too. I hanen't come across that before! I thought I had strayed into the Strauss Alpensinfonie by accident!

@dabedwards 3 года назад

@@janebeaton9799 Not a work I know; I was thinking Vaughan Williams' 7th symphony. Thanks for confirming my ears were not deceiving me. I am very happy to have sound effects that heighten the drama; the Solti Ring is full of clunks and clinks and thumps and bumps. Purists may quibble, because a lot of them aren't in the score. Google tells me Strauss included a wind machine in no less than 5 of his works.

@joedeegan3870 3 года назад

I wish Rca has made a Siegfried with Nilsson , George London, and Leinsdorf.

@tobiaspeter6555 2 года назад

Who would have been Siegfried?

@joedeegan3870 2 года назад

@@tobiaspeter6555 Vickers.

@jasonhurd4379 2 года назад

@@joedeegan3870 He never sang the role.

@brunegilda2453 Год назад

@@joedeegan3870 He couldn't have possibly sang Siegfried.

@joedeegan3870 Год назад

@@brunegilda2453 Vickers would have been a good choice!

@harpercraft9354 Год назад

3:20:04: Wotan’s Farewell

@hansbosse1106 Год назад

In terms of interpretation London is as good as it gets, but London was a classic bass-baritone with a piercing top whereas Wotan was written to be sung by a true bass voice, preferably a so-called "black" bass. Jerome Hines comes as close as anyone to fulfilling Wagner's idea of a "dream" Wotan, though his interpretation is not on London's level--or on the level of the great Hans Hotter who was a combination of the two, vocally, and may have been the best of the trio.

@kennethwayne6857 Год назад

Glad to have found someone else who enjoyed Hines' Wotan. A truly beautiful sound as well as a black bass. Though the Walkure sits lower than the other Wotans, I don't think there are many true basses who feel comfortable singing it. I understand Kurt Moll always turned it down.