Solti: The Wagner Opera Collection (Limited Edition) [21-CD Box Set with Bonus Unreleased CD]

Editorial Reviews
Album Description
Track Listings:

Discs 1-3 Der Fliegender Holldnder

Discs 4-6 Tannhduser

Discs 7-9 Lohengrin

Discs 10-13 Tristan und Isolde

Discs 14-17 Die Meistersinger von N|rnberg

Discs 18-21 Parsifal

Bonus CD: The Birth of an Opera (Solti in rehearsal of Tristan und Isolde)

Tracks:

Die Walkure: The Ride Of The Valkyries
Tristan und Isolde: Prelude, Act I
Der Fliegende Hollander: Overture
Tannhauser: Overture
Lohengrin: Prelude, Act III & Bridal Chorus
Gotterdammerung: Sigfried's Funeral March
Die Walkure: Magic Fire Music

Customer Reviews:

Poor recording quality spolis readings.......2004-03-29

Although Solti will always be the definitive interpreter of Wagner, this CD of some of Wagner's most famous orchestral works is a bit disappointing. Although the Vienna Philharmonic is in top form and the vision Solti brings is fantastic, the poor sound quality (a rarity on London Decca) makes this CD less appealing than it should be. Barremboim's recordings with DG are not quite as solid as Solti's, but their crystal clear sound and responsive playing from the orchestra makes it a more attractive buy.

Highly recommended.......2003-07-04

The Vienna Philharmonic Orchestra has long maintained a tradition of excellence in playing Wagner's operas. From 1958 to 1965, a number of pieces were recorded, and this album is the fruit of that labor. These seven pieces range from 4:39 minutes long to 21:44 minutes long (Tannhauser's Prelude), and are all wonderful to listen to, and the album is about 1 hour, 12 minutes long. If you are interested in listening to some of Wagner's greatest hits, then I highly recommend this album to you.

The Y2K Album: A Doomsday Collection For The Coming Crash

Average customer rating:

DOOMSDAY CLASSICAL MUSIC !
Spectacluar!!!
Love classical this is very very good

The Y2K Album: A Doomsday Collection For The Coming Crash

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Massive Classics

ASIN: B00000JWNB
Release Date: 1999-08-10

Tracks:

Thus Spake Zarathustra: Sunrise - Y2K ALBUM
Carmina Burana: O Fortuna - Orff
The Planets: Mars, The Bringer Of War - Holst
The Firebird Suite: Infernal Dance Of King Katschei - Stravinsky
The Valkyries: The Ride Of The Valkyries - Wagner
Requiem: Dies irae/Tuba mirum (part 1 of 2) - Y2K ALBUM
Requiem: Dies irae/Tuba mirum (part 2 of 2) - Y2K ALBUM
A Night On The Bare Mountain - Mussorgsky
Symphonie Fantastique: Dream Of The Witches' Sabbath - Berlioz
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 1 Of 3) - Y2K ALBUM
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 2 Of 3) - Y2K ALBUM
The Rite of Spring (From Part I - Adoration of the Earth): Ritual Of The Rival Tribes - Procession Of The Sage - The Sage -- Dance Of The Earth (Part 3 Of 3) - Y2K ALBUM
Alexander Nevsky: The Battle On The Ice - Prokofiev
Star Wars Suite: The Battle - Y2K ALBUM
The Twilight Of The Gods: The Immolation Of The Gods - Wagner

Customer Reviews:

DOOMSDAY CLASSICAL MUSIC !.......2005-06-18

Doomsday Classics! The title and concept for this novelty album may be dated, but the music is timeless! "HEAVY" classical music to be played LOUDLY! The arrangements and sound quality on this CD are EXCELLENT! One of my favorite compilation albums of classical music. For the price, don't let this one pass you by.

Spectacluar!!!.......2002-01-04

This is by far one of my favorite cds. I purchased it originally as a joke, but I have come to love it and play it very loudly when I'm in a bad mood. Spectacularly, it always helps cheer me up, or give me encouragement. Plus this is just some quality music, some of which any person who's heard classical music will recognize. :) Unfortunately, I somehow broke my copy, and now must buy a new one...it's such a relief that Amazon still carries it. :)

Love classical this is very very good.......1999-10-14

Have looked for good classical recordings in every possible location from "record clubs" to "music outlets" and this is the best as represented I've found. Would like to know more about artist,composers,and availability of all.

Solti: The Wagner Opera Collection (Limited Edition) [21-CD Box Set with Bonus Unreleased CD]

Average customer rating:

One of the triumphs of recorded sound
A decent Wagner collection, for the price
Part 2: DIE MEISTERSINGER Analysis
Difficult
Part 1 of Comments

Solti: The Wagner Opera Collection (Limited Edition) [21-CD Box Set with Bonus Unreleased CD]
Manfred Jungwirth , Peter Klein , Waldemar Kmentt , Tom Krause , and Resnik, Regina
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti
An Introduction to Der Ring des Nibelungen
Wagner: Der Ring Des Nibelungen (Milan 1950)
Puccini - La Bohème / Freni, Pavarotti, Harwood, Ghiaurov, Karajan
Wagner: Tristan und Isolde

ASIN: B00006469R
Release Date: 2002-10-08

Album Description

Track Listings:

Discs 1-3 Der Fliegender Holldnder

Discs 4-6 Tannhduser

Discs 7-9 Lohengrin

Discs 10-13 Tristan und Isolde

Discs 14-17 Die Meistersinger von N|rnberg

Discs 18-21 Parsifal

Bonus CD: The Birth of an Opera (Solti in rehearsal of Tristan und Isolde)

Customer Reviews:

One of the triumphs of recorded sound.......2007-01-09

This collection not only represents all of the glorious music of Wagner the continues to influence composers to this day; it is also one of the greatest achievements both for Maestro Solti and for recording technology that was in practice during this time period. Yes, this music is lengthy, and because of the german dialogue often difficult to follow and comprehend, but I assure you that the rewards of listening to this collection will change your life. I would also recommend seeing any of these operas live, in that they are a truly magical experience.

A decent Wagner collection, for the price.......2004-06-08

None of these is my favorite recording of each particular opera, but for the new fan of Wagner who wants an instant, and decent, collection of recordings, one could do much, much worse than this. These recordings feature the most accomplished singers and orchestras of their day, as well as the most advanced sound engineering available. That said, these recordings (The Ring in particular) suffer from an over-consciousness of their own greatness. The producers strove too hard to create perfect, definitive recordings. The result frequently is a gorgeous, but lifeless reading of the drama. Solti's languid tempi don't help, either. Bohm or Kegel (when you can find him) are far better Wagner conductors. On the positive side, the presence of French tenor Rene Kollo in several of these recordings is a particular delight. He was a singer of extraordinary taste and refinement.

A note about Tristan und Isolde: The main reason to own this recording is for the supporting cast: Tom Krause as Kurwenal, and particularly Regina Resnik as Brangaene (the best recorded Brangaene ever, by far). Fritz Uhl as Tristan is a nonentity (where's Kollo when you need him!). Nilsson of course is brilliant, but her 1966 live recording under Karl Bohm has more fire.

Part 2: DIE MEISTERSINGER Analysis.......2004-01-29

Solti's Die Meistersingers is without doubt one of the best in the catalogue. His conducting is lively and very animated, and all the singers sing very beautifully - they all have beautiful voices. As with ANY wagner opera recording, there are drawbacks. Firstly, the orchestra and singers are really recorded too closely to each other - there is a lack of space in between orchestra, singer and chorus. Secondly, the microphones were placed too close, again, to singers, chorus and orchestra. This has to do with the recording venue - Orchestra Hall in Chicago - which does not allow the singers, chorus and orchestra to be spaced out nicely. So the sound is slightly unpleasant - but you can mitigate that by turning the volume down a little. It does help. Having said that, the digital sound is very full and vivid, all the details are beautifully captured by Decca's engineers. The Chicago Symphony Orchestra is absolutely gorgeous - they play beautifully and articulate clearly. Having said that, you notice that the Chicago forces lack something that the Vienna Philharmonic possesses. Call it the X-factor. The Vienna Philharmonic is an opera orchestra - they play under the name Vienna State opera orchestra at the Vienna State Opera. But in concert and in recordings, they assume the name Vienna Philharmonic Orchestra. Anyway, being an opera orchestra, the Vienna Philharmonic certainly knows how to play opera music better than the Chicago Symphony. The Chicago forces, though technically wonderful, lack that extra X-factor in their playing. I think it has to do with injecting emotion into the playing. The end result is that although the Chicago Symphony plays beautifully, the playing is sometimes a bit bland, and you miss the kind of frisson an opera orchestra provides. Mattila sings very beautifully as Eva - she is one of the highlights of the performance. the other highlight is Ben Heppner who is wonderful in his singing and phrasing. Van Dam is excellent as Hans Sachs. All the other principals are never less than adequate although they are a bit detached.

Having said all that, this is still one of the best Die Meistersingers in the catalogue. But you have to listen to it over a long period of time before you can appreciate it properly. I only began to really enjoy the performance after spending over a year listening to it (in between other things). But that's only because I listen to tons of other music. I guess if you just concentrate on Die Meistersinger, it might take a shorter time.

There's always this talk about the K's in Die Meistersinger - Karajan, Kubelik, Kempe. Well, Kempe is in MONO, Karajan's 1951 performance is in MONO, Kubelik's recorded sound is not very nice - on the hard side. I guess Jochum and Karajan's stereo would be good alternative, but this version can hold its own against those two. Unless you are a Wagner freak (in which case, you should just buy them all), this is perfectly fine as a sole representation of Die Meistersinger in your collection.

Difficult.......2004-01-27

Wagner's non-Ring operas can be quite difficult to listen to. If you buy this set, be prepared to spend time on it. I listened to it for a very long time. For some time I was quite dissatisfied. But with time, you learn to appreciate the operas. Now I enjoy them thoroughly. Like good wine, these operas become better over time. So don't throw your set away after 1 hearing. Listen to each opera for 100 times, then you'll discover the magic.

Part 1 of Comments.......2003-07-25

LOHENGRIN ANALYSIS:

Lohengrin. My goodness, the singing here is simply gorgeous. Jessye Norman is in superb voice and her voice rings out gloriously throughout the opera. Domingo has been criticized for his German diction. But don't forget that Lohengrin is supposed to be a foreigner. Besides, his beautiful golden tone more than makes up for the unidiomatic diction. With such wonderful singing from Domingo, you just forget any shortcomings with respect to diction and related stuff. Besides, a lot of listeners do not know German (I don't) so they won't really care. Contrary to popular beliefs, Wagner loved beautiful singing. Many will be astounded to know that Bellini was one of his favorite composers. Did you know that Brunhilde's battle cry "Hoyotoho!" HAVE TRILLS WRITTEN IN THEM!!!!! YES!! Birgit Nilsson doesn't sing the trills. Almost no Brunnhilde ever attempts the trills. Only exception is Gwyneth Jones. Yes, contrary to popular belief, Wagner has some elements of Bel Canto written in them. Wagner's music has been subject to much abuse - singers singing it in a rough way. the Solti set shines out for the wonderful legato lines by Domingo, Norman, Randova et. al. It is simply a ravishing performance. No doubt one of Solti's most beautiful Wagner recording. I am not suprised that the Penguin Guide once gave this opera a rosette. Finally, instead of a tenor and a soprano with pressed shrill sound and a forced out tone, we have sensuous, beautiful, gorgeous legato lines - ravishing tone poured out minute after minute, underscored beautifully by the incomparable VPO and Solti's lively conducting - the tempi never sags but Solti never drives the music hard either.

Customer Reviews:

The soprano with the "scimitar glint" in her voice.......2003-11-22

Pilar Lorengar may not be as famous as her Spanish Counterparts, Victoria De Los Angeles and Montserrat Caballe. But, opera afficionados still treasure her. The reasons why are elaborately laid out on this two-disc recital. The first disc is dominated in the first half by Puccini arias. Since these are famous arias, it would be easy to sing them in a conventially pretty manner. Instead, Lorengar offers wonderful interpretations of such arias as Un Bel Di and a personal favorite, Senza Mamma. She may not be able to belt it out like some of her peers, but she invokes a true sense of artistry. The same can be said for her Mozart- just listen to the aching way she sings the first line of Dove Sono- "E Susanna non vien..." Another standout is Come Scoglio, which she sings with great flair and drama. My only gripe, which is why I gave this recital 4 stars instead of 5 is that, alas, there is nothing from one of her greatest roles, Donna Elvira. It is very baffling why the linear essay makes mention of how successful her Met debut as Donna Elvira was, but nary an aria made the cut for the first disc. However, if you want to hear her interpretation of this great role, buy the highlight disc of Don Giovanni, which is readily available, for budget-price. The disc also features Sutherland and Horne.

Two other favorites from this disc are the moon aria from Rusalka, as well as the duet from Arabella, which is heartbreakingly beautiful. Thankfully, she is paired up with Arleen Auger, an accomplished artist in her own right.

The second disc of Zarzuela is wonderful as well. Especially wonderful are the Tonadillas. Just Lorengar's lovely voice, and Alicia Dellarocha's piano. Very relaxing to listen to...

Sadly, Lorengar is no longer with us, but her artistry is her, for us to treasure.

Glorious tribute to sadly neglected singer.......2003-07-08

Although known among opera aficianados, Pilar Lorengar never reached the heights of fame and name recognition as her contemporaries Callas and Sutherland. This has lead to an unfortunate dirth of Lorengar on CD, and which makes this compilation most welcome. Although never an operatic superstar, Lorengar had a magnificent instrument: soft, creamy, dramatic when necessary, and always charming. Fortunately she had a long career with Decca and made some magnificent recordings, many of which appear on this delicious two-CD set. I think few can fail be to moved by her near-perfect Mimi, her touching Cio-Cio San (infused with just the right amounts of pathos and fortitude, her ravishing Mozart interpretations, and her silvery reading of Korngold's "Gluck, das mir verlieb". The second CD is entirely made up of her specialty repertoire of songs from her native Spain, and these, while maybe not quite as familiar, are also a delight. Hopefully this compilation will make her better known to casual opera fans who only listen to Callas or Fleming simply because they're better-known names; this has been a much-needed release!
P.S. - For those who would like an inexpensive introduction to Lorengar in a complete operatic role, it has come to my attention that Decca is re-issuing her fantastic "Cosi Fan Tutte" (conducted by Solti) in its "Compact Opera" series very soon. The cast, which also includes Berganza, is perfect and Solti's conducting right on the mark. Keep your eyes open for it!

One of the great sopranos.......2003-06-16

Pilar Lorengar is the best Spanish soprano of the last fifty years. Her silvery voice, beautiful vibrato, and clear phrasing are something to behold. Her Rossini's Stabat Mater (with Pavarotti, Minton, Sotin, Kertész cond) is the best version of this work. Her Traviata (Maazel cond.), Don Giovanni (Bonynge cond.), and Gounod's St.Cecilia Mass (Hartemann cond.) are superb. But I believe the best Lorengar is in her early zarzuela recordings, where her voice had, apart from all its other qualities, a young, sweet, candid tone that touched the listener, and her vibrato evoked a fountain of fresh, clear water. I hope some recording company produces a CD set with her zarzuela arias, and pieces with other soloists. Meanwhile, the present Decca two-disc release is very welcome.

One of the great sopranos.......2003-06-16

A Passionate and Elegant Soprano.......2003-04-29

At last, Decca has made amends for ignoring this magnificent artist by releasing a 2-disc set of some of her best recordings of the 60s and 70s. Actually I dont think Lorengar ever made a bad or even an uninteresting recording. She was a superb lyric who was the equal of Freni, and far more versatile. A star at the San Francisco and Berlin Staatsoper, Lorengar enjoyed a long and successful career. Her appearances at the Metropolitan Opera were events. I saw her as Desdemona, Elsa, and Fiordiligi, and she was wonderful (how sad that I missed hearing her there in the 60s).

There was some controversy about her singing. Terry McEwen, her great supporter at London records in the United States, loved what her called her "shimmering" top, that reminded him of the great German lyrics, Schwartzkopf, Reining, Lemnitz, Muller, Janowitz,etc. Some found that gorgeously blooming top to contain a beat, or a slight wobble. Nothing could be further from the truth. That top, coupled with her superb diction, and excellent vocal technique and outstanding breathing, made her one of the most distinctive voices of her generation. The top was pure sunshine with a throb. Nobody sounded remotely like her. I loved her singing.

I wish Decca had released all her fine recordings for that company in a multi-disc set. Perhaps they were worried that it wouldn't sell. Her first recital of Italian and French arias, the Prima Donna in Vienna album, as well as her Spanish song recital with the incomparable Alica de Larrocha, and her final Decca recital were all superb, and might have fit on three generous CDs. Here we get bits and pieces from all the LPs, plus arias from some her her complete recordings on Decca. So we're missing such treasures as her arias from THE PEARL FISHERS, DON CARLO, and other important items.

I don't care. Lorengar's superb singing of arias from MADAMA BUTTERFLY, LA BOHEME, LA RONDINE, LOUISE, RUSALKA, LOHENGRIN, DIE ZAUBERFLOTE, COSI FAN TUTTE, ARABELLA (with Arlene Auger!) and others (plus a generous selection of that famous Spanish song recital), make the point abundantly clear. No matter what language Lorengar is singing, she touches the heart.

Today's lyrics could learn a lot from listening to these superb selections. Lorengar's beautiful legato singing is married to the text of each item she sings. Here is a lyric with a strong middle to go along with the bottom and top ranges. She and her conductors never dawdle, pulling at the rubato as though it were Turkish Taffey such as Renee Fleming (who has an compellingly beautiful voice which she undermines with deadly slow tempi and and overly complicated phrasing).

Lorengar was intermittently busy in the recording studios throughout her long career. If you can find her recording of THE BARTERED BRIDE (EMI and in German, rather than the original Czech), grab it. She's a superb Pamina and Fiordiligi for Solti (Decca). On Fritz Wunderlich's Gala CD set, she partners him brilliantly in a live recording of the Act one duet from MADAMA BUTTERFLY. I'm a huge fan of her work on the Maazel-led LA TRAVIATA (also on Decca). She was still in superb voice in the mid to late 80s in a live Zarzuela concert with Placido Domingo (Sony). And near the end of her career, she still stunned in the famous LES HUGUENOTS duet at a Richard Tukcr gala with the emerging Richard Leech. Sadly, she died in her late 50s, a victim of cancer.

Tracks:

Prelude To Act I: Lansam Und Schmachtend - Jessye Norman
Liebestod: How Gently And Quietly He Smiles - Jessye Norman
I. The Angel - Jessye Norman
II. Be Still! - Jessye Norman
III. In The Hothouse (Study For Tristan Und Isolde) - Jessye Norman
IV. Torment - Jessye Norman
V. Dreams - Jessye Norman

Tracks:

I Saw The Child On Its Mother's Breast - Placido Domingo
Woe Is Me! Alas! What Have I Done? Where Was I? - Placido Domingo
Cruel One! If You Feel In your Heart Only Others' Sorrows - Placido Domingo
Lonely, In Troubled Days - Placido Domingo
Ye Heavens, So Oft Filled - Placido Domingo
The Sweet Song Fades - Placido Domingo
As I Feel My Heart Go Out To You - Placido Domingo
Can You Not Smell These Sweet Fragrences? - Placido Domingo
You Have Already To Thank Me For The Highest Confidence - Placido Domingo
Are You Asleep, Guest? - Jessye Norman
Wintry Storms Have Vanished Before Maytime - Jessye Norman
You Are The Spring - Jessye Norman
O Sweetest Bliss, Most Blessed Woman! - Jessye Norman
Siegmund I Am Called And Siegmund I Am! - Jessye Norman
Do Not Plague Yourself With Worry About Me - Jessye Norman

Customer Reviews:

Wonderful Collection, Wonderful Singer.......2007-06-16

I disagree with the comment that she was not physically suitable to Wagnarian roles. With Norman, it was voice first and foremost and despite her size, she was wonderful as Kundry and Sieglinde. Both roles are highly physical. She excelled beautifully at the Met as Elizabeth in TANNHAUSER which is similar to Elsa in LOHENGRIN. Deborah Voigt was as large as Norman when she had a huge triumph at the Met as Elsa in LOHENGRIN. Jane Eaglen also had a success at the Met as Isolde and was just as large as Voigt and Norman.

Norman has not appeared in opera for a number of years now so I'm convinced she's retired that part of her career. This collection proves she was one of the most important Wagnarian singers of her generation. She was in the tradition of the grand vocal gesture capped with absolutely goregous sound.

A valuable survey of Jessye Norman in diverse roles.......2006-09-29

Jessye Norman didn't have an extensive career on the stage in Wagner. She was physically unsuitable for a role like Elsa in Lohengrin, which she recorded quite successfully. Her main roles were Kundry in Parsifal and Sieglinde in Die Walkure. Here Philips has gathered excerpts from a few operas plus an early CD of the five Wessendonck Lieder and the Love-Death from Tristan under Colin Davis's direciton (she recorded the latter twice more, first with Tennstedt, then with Karajan in his last years on the podium).

For Jessye's fans, a lot of this material will overlap the complete operas: Lohengrin with Solti (Decca) and Parsifal with Levine (Philips), and the excerpts here are measger, anyway. Room was made for long stretches of sieglinde's music, derived from Levine's Ring cycle from the Met (DG). If you don't own these recordings, here is Norman as she was on stage, huge of voice, dramatically static, and always the grand diva. Wagner doesn't show her off in the best light, and yet se remains a unique artist whose like hasn't arrived on the scene yet.

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