Richard Wagner (1813-1883) - Orchestral Works from the Operas. 🎧 Qobuz bit.ly/3nPvN8A Deezer bit.ly/3FW9Cns 🎧 Amazon Music amzn.to/3GwToof Tidal bit.ly/3nTyxSr 🎧 Spotify spoti.fi/3Iya78V Apple Music apple.co/3Isi0fW 🎧 RU-vid Music bit.ly/3IgcdNP SoundCloud bit.ly/3xO3RWT 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … *Click to activate the English subtitles for the presentation* (00:00-03:55) Die Meistersinger von Nürnberg - Overture (00:00) Tannhäuser - Overture (09:28) Der fliegende Holländer - Overture (24:16) Lohengrin - Act I - Prelude / VorspieI (35:05) Lohengrin - Act III - Prelude / Vorspiel (43:14) Lohengrin - Entweihte Götter / Ortrud's aria (46:37) Tristan und Isolde - Mild und leise wie er lächelt / Liebestod (48:17) Siegfried - Siegfried Idyll (54:44) Siegfried - Forest murmurs (1:12:42) WaIdweben - Murmures de la Forêt Götterdämmerung - Siegfried's Rhine Journey (1:21:49) Siegfrieds Rheinfahrt / Voyage de Siegfried Götterdämmerung - Funeral March (1:32:25) Siegfrieds Trauermarsch / Marche funèbre de Siegfried Singer : Rita Gorr Orchestre du Théâtre National de I'Opéra de Paris André Cluytens Recorded in 1957-59, at Paris New Mastering in 2020 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr André Cluytens : « À la peinture, à la sculpture, à la danse, au théâtre même, nos sens réagissent. À la musique notre âme répond. La musique est écrite pour être interprétée. Après avoir été conçue par son auteur, la Symphonie, à jamais détachée de celui-ci, connaîtra la grande aventure à travers ses interprètes. Le peintre est sûr de sa toile, le sculpteur de son buste, le poète de son sonnet. Le compositeur n’est certain que des signes qu’il a écrits. Il doit se livrer à l’interprète. L’interprète doit lire les signes, puis les traduire en s’efforçant de retrouver l’inspiration qui les dicta. Après sa fixation sur la portée musicale, la mélodie n’est pas encore vivante. Le processus de sa création n’est pas terminé. Pour exprimer l’idéal qu’il ressent, l’homme se heurte aux moyens propres à l’exprimer; il redoute la trahison de sa pensée. Quelle magnifique tâche pour l’interprète que de s’efforcer de toute son âme, d’être fidèle au génie du créateur ! C’est pourquoi j’aime mon art, auquel j’ai donné le meilleur de moi-même. Il m’a valu bien des appréhensions, mais il m’a toujours apporté la joie suprême de la découverte chaque fois renouvelée, chaque fois plus riche ! » Bernard Gavoty : « J’imagine l'étonnement d'un oiseau qui se verrait questionner par un homme de science sur le mécanisme de son vol. Je l'imagine d'autant plus volontiers que j'observais, l'été dernier, la stupeur d'André Cluytens quand je l'interrogeais sur son métier. Je compris, ce jour-là, qu'il n'éprouvait pas à diriger l'orchestre, à lire la musique et à l'expliquer à ses instrumentistes plus de peine qu'un oiseau à voler. Ne s'étant jamais posé de questions à ce sujet, il s'émerveille qu'une activité qui lui est à ce point naturelle puisse soulever des problèmes chez autrui. Comme le poisson dans l'eau, comme l'hirondelle dans l'azur, tel est André Cluytens sur l'estrade. » Auteur de ses propres livrets, Wagner fut l'un des créateurs du théâtre lyrique parmi les plus originaux et les plus novateurs de tous les temps. L'ascendant qu'il exerça sur plusieurs générations de compositeurs découle en grande partie du génie de son orchestre : il fut en effet, au même titre que Berlioz ou Rimsky-Korsakov, l'un des orchestrateurs les plus inspirés qu'ait suscité l'orchestre moderne, la voix humaine, intermédiaire du poème et du drame, s'insérant tel un instrument soliste dans la trame orchestrale. Son oeuvre témoigne de son appartenance première à l'univers romantique d'un Weber ainsi que de sa connaissance de l'opéra français et italien de la première moitié du siècle. Sur la base de cet orchestre romantique tel qu'il apparaît dans Le Vaisseau fantôme (1843) et Tannhâuser (1845), Wagner développa une approche très personnelle de l'orchestre, admirable d'éloquence et de force dramatique. Si Lohengrin (1850) amorce la transition, Les Maîtres Chanteurs (1862-1868) hésitent encore entre les deux manières, cependant que Tristan et Isolde (1865), prodige de pureté et de densité instrumentale, atteint au sommet. De même la Tétralogie, ici représentée par trois scènes extraites de Siegfried et du Crépuscule des dieux, créés à Bayreuth en 1876 lors de l'achèvement du cycle et de l'inauguration du théâtre ou Festspielhaus. Richard Wagner PLAYLIST (reference recordings) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gGAKgoclJ6A.html
The Paris Opera Orchestra is one of the most beautiful orchestras of the post-war period. You will certainly enjoy the magnificent sounds of the woods in the "forest murmurs" / Siegfried (1:16:25). André Cluytens was a great Wagnerian and a personal friend of the Wagner family. Good listening :-) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Terrific, respected bro Sméagol! My late great dad had a world-class "Wagner Jones" his entire long life despite Adolf's much hyped passion. Me, his only kid? Got far too busy with and "into" forms other than the Ring Cycle until - just like that I'm suddenly 81 and "VOILA!" My dad never gave me a "bum steer." Thanks as always
The perfect mixture of technique and passion. The clarity of the orchestra is very deep and intimate. Cluytens is a superb director. I love his work with Beethoven's nine symphonies. Again, thank you for this recording.
Thank you ! Thank you! I am once again a Wagnerite-Wagnerian. The first time I ever heard the sounds of Wagner, I was a senior in high school. It was the Tannhauser overture under the baton of Sir Adrian Boult. After that I was never the same and got into Wagner opera and the leitmotifs/overtures etc. This recording of Monsieur Andre Cluytens with the Orchestra of the National Theater of Paris Opera was first issued as a Testament recording (vinyl LP then CD) this new edition is cleaner than the Testament version, brighter, crisper, clearer sound. The way that Meistersanger overture starts is dazzling! The orchestra brings out so many beautiful colors and phrases I only wish that there were more selections from all Wagner operas including Parsifal and the whole Ring (it's only got Siegfried and Gotterdammerung excerpts) the Tannhauser is exquisite. I'd never heard the latter portions in the quieter pilgrim's chorus motif right before the crescendo at the end sound that way like a jazzy whisper. I love the Lohengrin preludes an the Flying Dutchman overture, well played and conducted. Love Rita Gorr's Ortrud's curse which I'd heard before as a separate piece (now I know where it comes from) but had no idea she recorded the Liebestod. This is phenomenal even though it's not written for her voice (it was written for a soprano, not a contralto/mezzo soprano) she manages to sing it beautifully and thrillingly. Cluyten's Siegfried's Rhine Journey is on a par with Solti's Ring version. The Funeral March is sublime. This music is absolutely gorgeous. Although he had his flaws and he wasn't as heroic or noble as the characters from his operas (a pure innocent Parsifal he was not) Wagner's music was a gift to mankind the apex of 19th century Romanticism. He is my favorite of all the Romantics though I am a fan of most if not all of them - Beethoven Brahms Berlioz Schubert Schumann Liszt Tchaikovsky etc. Thank you again for the music.
Me too, I love 19th Century, I also like very much Haydn and the unique Mozart (perhaps because they were the most original of classicism, sometimes I have my Baroque Evenings, I don't get mad by listening Bach in modern arrangements or a whole evening) I like most of germanic composers but I also emphasize with France and Russia (both romantics and 20th century) and Italy, if we talk about opera: Beethoven, Weber, Schubert, Berlioz, Mendelssohn, Schumann, Liszt, Wagner, Verdi, Bruckner, Brahms, Tchaikovsky, Wolf, Mahler, Strauss, Sibelius, Rachmaninoff, and even Schoenberg, Webern and Berg, but that's me. Rachel, are you a girl?
Es impresionante como Wagner supera sus escalas melódicas en infinita sucesion in crescendo que invita a seguirlas con la mente en sus niveles de altura cada vez más altos, produciéndose así un efecto de amplias emociones.
In the overture to Tannhauser, especially in the opening, the wind section passages have some pretty significant intonation problems - perhaps there might have been a preponderance of very youthful players with not enough rehearsal time? Otherwise a great performance.
Sensitive and with a light Gallic (?) touch, Andre Cluytens brings to these recordings empathy and intelligence, interpreting the spirit of Wagner that is sadly too often revealed as bombastic, forte rather than piano for no real reason. Thank you for sharing. Your reference recordings have become standard listening for me on RU-vid.
Es una variedad muy francesa no sé si a Wagner le hubiera gustado No lo califiquaría de mejor. Varias piezas las dirijó demasiado lento, prefiero la versión de Stokowski ahí. Pero cada quién lo suyo.
Merci à A.Cluytens de nous livrer un Wagner allégé et nerveux, éloigné des lourdeurs germaniques... Thanks to A.Cluytens for delivering us a light and nervous Wagner, far from the German heaviness ...
Lourdeurs germaniques ?! I do not agree with you. Are Bach, Beethoven, Schubert... heavy ? In fact what do you mean by "heaviness" ? Friendly... Herzliche Grüsse aus Kamerun. Besten Dank !
For me, Cluetens's music has been far the best than any other conductors. I have been in love with his music since I was 15 years old . I am now 70 years old. And I still in love with his music. Beethoven, Wagner, French Musics. I really appreciate his musics. Thank you so much for such a lovely world which he created.
I do not really think so. I rather think this man has tinkered with melodies and registers largely as a layman. It's known that he was a pathetic pianist.
@@HansDunkelberg1 A pathetic pianist? After all, Wagner never considered himself a professional pianist, so he didn't require such virtuosity. Think of Beethoven. He was a true piano virtuoso of course, and I admire him as well as Wagner. But he only completed one opera "Fidelio", and I cannot say he was a successful opera composer. In addition, Berlioz never studied the piano either. Let the facts speak for themselves. None of Wagner's operas -- from "Der fliegende Holländer" to "Parsifal" -- has been forgotten, and his work still attracts people all over the world. A layman's work wouldn't have lasted so long. And how about yours?
@@まぬまぬ-g9i Okay, a certain sense for melodies Wagner indeed has had. Your notion that a layman's work wouldn't have lasted so long makes me think. I'm trying to think of clearer examples, and so far only Herbert von Karajan (1908-1989) comes to my mind - i.e., an individual who isn't yet gone so long, so that he still can be forgotten soon. Ah, yes. In the field of _literature,_ I know an example: Erich Maria Remarque (1898-1970). That is a layman who hasn't yet been forgotten, at least for nineteen years longer than Karajan. Creations of myself in my last life as Gerhart Hauptmann (1862-1946) have partially been depicted as amateurish while they certainly haven't been it. So they now are an example of an oeuvre which _has_ largely been forgotten although it's of a high quality. The same has happened with Botticelli and with Georg Buechner.
Well he was a friend of the Wagners and conducted Wagner in Bayreuth and elsewhere on numerous occasions to acclaim and so he may very well have been a Wagner specialist. :)
Like Maestro Cluytens, I never associated Rita Gorr with Wagner, but this invaluable recording shows I was wrong not to do so. Their shimmering and nuanced renditions of Ortrud's and Isolde's arias are incomparable! I think of Levine and Behrens, but feel that Cluytens was a bit more lyrical and Gorr had a more beautiful voice. The National Opera Orchestra of Paris might have been overshadowed by Berlin, Vienna and Amsterdam, bit it was no slouch in terms of sonic beauty and expressiveness.
This is salam/peace logo - it is not a cross - i believe - salam/peace is one of god countless & endless names, we should be happy of this name though we don't know this name meaning perfectly ☮
Dependiendo también del espacio y quien lo dirija, Cluytens lo hizo muy bien, faltaron algunos extractos del Anillo, pero por mi está bien, la Filarmónica de Viena lo hace muy bien bajo Böhm o Solti, pero mejor aún es la Filarmónica de Berlin.
I'd never heard Cluytens in Wagner. My usual impression that he is well worth listening in whatever he conducts (Gounod, Mussorgsky, Beethoven) is confirmed yet again. These are marvellous performances, robust yet sensitive. Superb sound, too.
Some really bad playing by the orchestra with the woodwind and brass not in tune with the strings particularly the Clarinet in their lower register. It’s impossible to enjoy this recording. At times the playing is laboured and then so rushed that the detail is lost in the strings. The percussion sounds like it’s played on saucepan lids rather than cymbals. The brass is harsh with an edge to the sound and over blown. II have stopped listening, it’s so awfully out of tune.
Wunderschöne und großartige Interpretation dieser typisch wagnerhaften Meisterwerke mit gut harmonisierten und perfekt synchronisierten Tönen aller Instrumente. Der unvergleichliche Dirigent leitet das ausgezeichnete Orchester im gut phrasierten Tempo und mit völlig effektiver Dynamik. Die geniale Solistin singt auch schön. Alles ist faszinierend, atemberaubend und, vor allem, wunderbar!
