Jessye Norman - Brünnhilde's Immolation 1/2

Описание

Jessye Norman and the New York Philharmonic, led by Kurt Masur, perform the final scene from Richard Wagner's "Götterdämmerung".

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Jessye Norman - Brünnhilde's Immolation 2/2

Jessye Norman - Brünnhilde's Immolation 2/2

Jessye Norman and the New York Philharmonic, led by Kurt Masur, perform the final scene from Richard Wagner's "Götterdämmerung".

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Birgit Nilsson (17 May 1918 - 25 December 2005) was a celebrated Swedish dramatic soprano who specialized in operatic and symphonic works. Her voice was noted for its overwhelming force, bountiful reserves of power and the gleaming brilliance and clarity in the upper register. Nilsson made such strong imprints on many roles that they came to be known as the "Nilsson repertory". She sang the operas of Richard Strauss and made a specialty of Puccini's Turandot, but it was the music of Wagner that made her career; her command of his music was comparable to that of Kirsten Flagstad, who owned the Wagner repertory at the Metropolitan Opera during the years before World War II. Nilsson recorded all of her major roles. Partly because of her availability to play Brünnhilde, Decca Records undertook the expensive project of making the first studio recording of Wagner's four-opera Ring cycle, conducted by Solti and produced by John Culshaw. The effort took seven years, from 1958 to 1965. A film of the proceedings made her a familiar image for arts-conscious television viewers... http://en.wikipedia.org/wiki/Birgit_Nilsson Lyrics & English Translation Stack stout logs for me in piles there by the shore of the Rhine! High and bright let a fire blaze which shall consume the noble body of the mighty hero. Lead here his horse, that with me it may follow the warrior; for my own body longs to share the hero's holiest honour. Fulfil Brünnhilde's request! Like sunlight his clear radiance shines on me: he was the purest, he who betrayed me! Deceiving his wife, loyal to his friend, with his sword he separated himself from his own true love, alone dear to him. No man more honest ever took an oath; none more true made treaty; none was more pure in love; and yet none so betrayed all oaths, all treaties, his truest love! Do you know why this was? O you, heavenly custodian of oaths! Turn your gaze on my great grief, see your everlasting guilt! Hear my lament, mighty god! Through his most doughty deed, that you rightly desired, you sacrificed him who wrought it to the curse which had fallen on you: this innocent had to betray me so that I should become a woman of wisdom! Do I know now what is your will? Everything, everything, everything I know, all is now clear to me! I hear your ravens stirring too; with dreaded desired tidings I now send them both home. Rest, rest now, o god! Now I take up my inheritance. Accursed ring, terrible ring, I take your gold and now I give it away. Wise sisters of the water's depths, you swimming daughters of the Rhine, I thank you for your good counsel. I give you what you crave: from my ashes take it for your own! The fire that consumes me shall cleanse the ring from the curse! You in the water, wash it away and keep pure the gleaming gold that was disastrously stolen from you. Fly home, you ravens! Recount to your master what you have heard here by the Rhine! Pass by Brünnhilde's rock: direct Loge, who still blazes there, to Valhalla; for the end of the gods is nigh. Thus do I throw this torch at Valhalla's vaulting towers. Grane, my steed, greetings! Do you too know, my friend, where I am leading you? Radiant in the fire, there lies your lord, Siegfried, my blessed hero. Are you neighing for joy to follow your friend? Do the laughing flames lure you to him? Feel my bosom too, how it burns; a bright fire fastens on my heart to embrace him, enfolded in his arms, to be one with him in the intensity of love! Heiajoho! Grane! Greet your master! Siegfried! Siegfried! See! Your wife joyfully greets you! (She has jumped on to the horse and with one bound leaps into the burning pyre. The flames immediately crackle and flare up high, so that the fire fills the whole space in front of the hall and seems to seize on this too. Terrified, the men and women press to the extreme foreground.) (When the entire stage appears to be completely filled with flame, the glare suddenly dies down, soon leaving only a cloud of smoke which drifts towards the background and lies on the horizon like a dark pall of cloud. At the same time the Rhine greatly overflows its banks, and its waters inundate the area of the fire. The three Rhinemaidens swim past on the waves and appear above the pyre. Hagen, who since the incident of the ring has been watching Brünnhilde's behaviour with growing anxiety, is filled with the utmost terror at the sight of the Rhinemaidens. He hastily throws aside his spear, shield and helmet and plunges, as if insane, into the flood.) A link to this wonderful artists personal Website: http://sopranos.freeservers.com/birgitni.htm Please Enjoy! I send my kind and warm regards,

7 лет назад
Richard Wagner - Wesendonck-Lieder for Piano and Orchestra | Jessye Norman

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Ricard Wagner - Wesendonck-Lieder, Fünf Gedichte von Mathilde Wesendonck. 5 Gedichte für eine Frauenstimme, WWV 91 | Five songs for Female Voice & Piano (or Orchestra), WWV 91, 1857-58. Jessye Norman, soprano 00:00 with Orchestra | Wesendonck-Lieder | with Piano 22:24 00:00 I. Der Engel | The Angel 22:24 03:25 II. Stehe still! | Be still! 25:30 07:35 III. Im Treibhaus - Studie zu Tristan und Isolde | In the Greenhouse 29:29 14:40 IV. Schmerzen | Sorrows 35:14 17:11 V. Träume | Dreams 37:38 Words By [Poems By] Mathilde Wesendonk with Orchestra (orch. by Felix Mottl) London Symphony Orchestra, Colin Davis (1927-2013) Philips Classics, 1975 with Piano Irwin Gage, piano EMI Classics, 1970 Richard Wagner's settings of Mathilde Wesendonk's Fünf Gedichte, which date from November 1857 to May 1858, are not merely by-products of the composer's predilection for uniting words and music; they are documentation of an intimate friendship between the married poet, whose husband more than once kept the financial wolf from Wagner's door, and the composer. The Wesendonk-Lieder have their origins in Wagner's period of intense work on Tristan und Isolde (1857-60). Indeed, Wagner designated two of the Wesendonk-Lieder, "Im Treibhaus" and "Träume," as "studies" for Tristan. Although the exact nature of the Wagner/Wesendonk friendship will likely remain unclear, it is tempting, especially in view of Wagner's usual romantic modus operandi, to view the love story of Tristan and the serenely metaphysical textual and musical union in the Wesendonk-Lieder as reflections of a real-life love story. Wagner's sensitivity to Wesendonk's poetry manifests itself musically in symbolic harmonic progressions, progressive tonality, and mimetic text-painting. In "Der Engel," the piano accompaniment depicts the contrast between heavenly angels and earthly cares: series of ascending arpeggiated chords reach upwards at the mention of angels, and repeated eighth note chords plod earthbound when the singer sings of fear, worry, and floods of tears. The plagal harmonic gesture Wagner weaves into the harmonic fabric of the song, and which he states most clearly in the piano postlude, underscores the religious implications of the idea of heavenly redemption in Wesendonk's text. If the imagery of "Der Engel" suggests infinity, in "Stehe still!" time, always in motion, is the "measure of eternity." Wagner's piano writing appeals to the tradition of work-music in the vein of Schubert's Gretchen am Spinnrade, in which driving rhythmic activity depicts the toils of labor. The large-scale tonal shift from C minor to C major underscores the mood shift in the text: joy, not time, is measured when two souls unite. The mutual understanding of the united souls transcends words. Wagner composes music that represents silence by gradually reducing the activity of the piano part to a recitative texture of sustained chords beneath speech-like declamation. A greenhouse is the backdrop for "Im Treibhaus," in which Wesendonk paints the image of palm branches reaching longingly into thin air only to grasp a desolate emptiness. One recognizes the melodic motive that permeates this song in even the opening measures of Tristan. Wagner's skill as tone poet is also apparent in his use of tremolo in the piano part to depict the whispering that "anxiously fills the dark room," and in his use of repeated D-E flat dyads to represent drops of water falling on leaves. In "Schmerzen," the sorrows and joys of life are allegorized in the image of the daily setting and rising of the sun. Again, a large-scale shift from C minor to C major tracks the psychological progression from sorrow to bliss: indeed, the text tells us that sorrow is the source of joy. Wagner divides the two eight-line sections of text in his setting by a brief fanfare gesture -- an arpeggiated B flat major triad, which returns, transposed to the final tonic C major, to close the song. In a letter of September 28, 1861, to Mathilde Wesendonk, Wagner wrote that his musical setting of "Träume" was "finer than all I have made!" He indicates that this song was the source of the night scene from the second act of Tristan. Indeed, the kinship is unmistakable. The descending whole-tone motive that hovers above ethereal harmonies is a sigh released as one abandons worldly concerns in spirit-redeeming dreams before taking permanent leave through death. The intersection of death and otherworldly bliss will resound most famously in Tristan.

3 лет назад
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*DISCLAIMER* NO COPYRIGHT INFRINGEMENT INTENDED. I DO NOT OWN THE RIGHTS TO MUSIC IN THIS VIDEO. I DO NOT MONETIZE THIS VIDEO. If you own copyright to this music please contact me first I will take down immediately!

2 лет назад