[SACD-R][OF] Richard Wagner - Die Walkure (Валерий Гергиев / Valery Gergiev & Mariinsky Orchestra) - 2013 (Classical/Opera)

01. i. Vorspiel und Erste Szene
02. ii. Wes' Herd dies auch sei
03. iii. Einen Unseligen labtest du
04. iv. Zweite Szene: Mud' am Herd fand ich den Mann
05. v. Friedmund darf ich nict heissen
06. vi. Die so leidig Los dir beschied
07. vii. Ich weiss ein wildes Geschlecht
08. viii. Dritte Szene: Ein Schwert verhiess mir der Vater
09. ix. Schlafst du, Gast?
10. x. Wintersturme wichen dem Wonnemond
11. xi. Du bist der Lenz
12. xii. O susseste Wonne!
13. xiii. Siegmund heiss' ich

01. i. Vorspiel und Erste Szene - Nun zaume dein Ross
02. ii. Hojotoho!
03. iii. Der alte Sturm, die alte Muh'!
04. iv. Heut' - hast du's erlebt!
05. v. Nichts lerntest du
06. vi. Was verlangst du?
07. vii. Deiner ew'gen Gattin heilige Ehre
08. viii. Zweite Szene: Schlimm, furcht ich
09. ix. Ein Andres ist's: achte es wohl
10. x. So nimmst du von Siegmund den Sieg?
11. xi. So nimm meinen Segen, Niblungen-Sohn!

01. xii. Schwer wiegt mir der Waffen Wucht!
02. xiii. Dritte Szene: Raste nun hier, gonne dir Ruh'!
03. xiv. Wo bist du, Siegmund?
04. xv. Vierte Szene: Siegmund! Sieh auf mich!
05. xvi. Du sahst der Walkure sehrenden Blick
06. xvii. So jung un schon erschimmerst du mir
07. xviii. Funfte Szene: Zauberfest bezahmt ein Schlaf
08. xix. Der dort mich ruft
09. xx. Zu Ross! dass ich dich rette!

01. i. Vorspiel und Erste Szene: Hojotoho! Hojotoho!
02. ii. Zu Ortlinde's Stute stell' deinen Hengst
03. iii. Schutzt mich und helft in hochster Not!
04. iv. Nicht sehre dich Sorge um mich
05. v. Zweite Szene: Wo ist Brunnhild
06. vi. Hier bin ich, Vater
07. vii. Dritte Szene: War es so schmahlich
08. viii. So tatest du, was so gern zu tun ich begehrt
09. ix. Nicht streb, o Maid
10. x. Leb wohl, du kuhnes, herrliches Kind!
11. xi. Der Augen leuchtendes Paar
12. xii. Loge, hor'! Lausche hieher!

Opera Recording of the Year Echo Klassik
ICMA 2014 Nomination Best Opera
The highly anticipated first release from the most finely crafted Ring cycle of modern times, Die Walküre features a sensational cast of Anja Kampe, Jonas Kaufmann, René Pape, Nina Stemme, Mikhail Petrenko and Ekaterina Gubanova.
Der Ring des Nibelungen was the pinnacle of Richard Wagner's long and turbulent career and without question one of the greatest achievements in opera. Wagner wanted to create the perfect synthesis of music and drama and assumed total creative control of the project which was to take him 26 years to complete, with frequent interruptions. He introduced numerous innovations, not least the sheer scale of the project – typically a complete performance will last in excess of 15 hours, spread over four evenings. No other opera matches the scale or ambition of the Ring.
The Mariinsky Theatre has close connections with Wagner and his music. The composer conducted at the theatre and was even offered the post of Music Director. It is also believed to be the first place where any of the music from the Ring was performed. Since Valery Gergiev became Music Director of the Mariinsky, Wagner's music has once again become a core part of the theatre's repertoire, both in St Petersburg and on tour. The Mariinsky label's recording of Wagner's final opera Parsifal starring René Pape, Gary Lehmann and Violeta Urmana, was released in 2010 to international acclaim.
Site review by Castor January 31, 2013
Performance: Sonics:
all goes according to plan the Wagner bicentenary this year will yield two new complete cycles of ‘Der Ring des Nibelungen’ on SACD. As part of their on-going cycle of ten Wagner operas, PentaTone have already recorded the first two Ring operas ‘Das Rheingold’ and ‘Die Walküre’, but they are yet to be released.Now the Mariinsky label begins its projected Ring cycle with a very impressive recording of ‘Die Walküre’ from Valery Gergiev and his Mariinsky forces. The Mariinsky Theatre’s own production of the Ring conducted by Gergiev toured widely about ten years ago. I saw it twice in Baden Baden (2003 and 2006) and again in Cardiff (2006). At that time it was widely and justifiably criticised not only for the odd production but for the unidiomatic and variable quality of the singing from a completely Russian cast generally unfamiliar with Wagner.No such criticisms could be directed here, as Gergiev has managed to engage a cast of a calibre that few, if any, opera houses in the world could bring together let alone afford to engage. There is no doubt that this is thanks to the generous financial support of Yoko Nagae Ceschina the Japanese philanthropist who supports musical endeavours and institutions worldwide (including the New York Philharmonic Orchestra) and it has certainly paid off on this recording.Four of the opera’s six main roles are taken by some of the most sought after Wagner singers of the current generation – Jonas Kaufmann (Siegmund), Nina Stemme (Brünnhilde), René Pape (Wotan) and Anja Kampe (Sieglinde) . In addition to the excellent eight Valkyries, Russian singers are represented by Mikhail Petrenko (Hunding) and Ekaterina Gubanova (Fricka) – both of whom are establishing international careers outside of the Mariinsky company.
One would be hard put today to find a Siegmund as eloquent and exciting as Jonas Kaufmann – here in superb voice throughout. The baritonal vocal quality of his opening words ‘Wes Herd dies auch sei, hier muss ich rasten’ suggests the character’s strength and masculinity, but equally he is able to caress the extensive lyrical music of the opening Act with honeyed tones. His ringing account of ‘Ein Schwert verheiss mir der Vater’ (tr.8) could hardly be more thrilling, while his passionate, almost Italianate, delivery of ‘Winterstürme wichen dem Wonnemond’ (tr.10) is totally entrancing. A consummate performance in every respect.
His Sieglinde, Anja Kampe, has an exceptionally lovely voice and sings with full-throated ardour. Her precise enunciation of the text is impressive and only occasionally does her tone spread a little under pressure. Her intelligent portrayal and radiant singing conveys to the listener both the character’s vulnerability in the early part of Act I and later her burgeoning passion for Siegmund.
Mikhail Petrenko’s ‘Hunding’ is also excellent. Unlike the majority of the singers heard on recordings of ‘Die Walküre’ he sounds a youngish man. This is a viable and refreshing alternative for a role too often assigned to ageing basses. The firmness of his singing is matched by his obvious understanding of the text. The same is true of the intimidating Fricka of Ekaterina Gubanova who delivers a most accomplished and strongly sung performance worthy of some of the best on record.
Nina Stemme is already established as the foremost ‘Isolde’ of our time and her ‘Brünnhilde’ looks set to match her incomparable assumption of that role. Her gleaming soprano and lustrous vocal quality ensures that she gives one of the most commanding accounts of the part that I can recall since the days of her Swedish compatriot, the great Birgit Nilsson. The intensity and supreme confidence of her performance is palpable, no more so than in the ‘Todesverkundigung’ scene in Act II where she tells Siegmund of his impending death.
The magnificent cast is completed by the effortlessly sung Wotan of René Pape who was so impressive as ‘Gurnemanz’ in Gergiev’s ‘Parsifal’ recording Wagner: Parsifal – Gergiev. At the opening of Act II he already sounds world-weary as he faces the strictures of Fricka, but as the opera progresses his character gains in power and authority, with no loss of vocal richness, and culminates in one of the most beautiful ‘Wotan’s Abschied’ that one could ever hope to hear.
Such is the quality of the singing on this recording that if there is any criticism to be levelled at this performance it can surely only relate to the conducting of Valery Gergiev. The controversial Russian maestro has over the last ten years become an experienced Wagner interpreter and for the most part his spacious, if occasionally enervating tempi, work admirably – though there are sections that, while beautifully articulated, can seem a little ponderous. The opening storm of Act I with its thunderous timpani is certainly dramatic, although there is a slight lack of weight at the bass end of the spectrum . However the dark sound of his Mariinsky Orchestra is ideally suited to Gergiev’s conception of the opera and they do respond magnificently to his demands.
Some may find a comparison of timings with three other notable recordings on CD instructive, although these give only a rough indication as to the pacing of the score by each conductor.
Gergiev Act I 67.48 Act II 96.05 Act III 72.43
Karajan Act I 67.24 Act II 97.11 Act III 72.07
Solti Act1 65.29 Act II 92.50 Act III 70.20
Leinsdorf Act I 60.35 Act II 87.28 Act III 68.05
The recording made in the Concert Hall of the Mariinsky Theatre, St. Petersburg during sessions and performances in 2011 and 2012 is generally well balanced with a good sense of depth. The 5.0 multi-channel layer not only conveys extra hall ambience, but in the opening scene of Act III (‘Ride of the Valkyries’) the surround speakers are used to place the listener amidst the warrior maidens to startling effect. The four SACDs are neatly packaged in a digibox that also contains a 136-page booklet with notes on the opera by Leonid Gakkel, photographs of the concert performances, and the full libretto in German and English.
This is a most auspicious start to the Mariinsky Ring cycle on disc – and one that all Wagnerites will wish to investigate. It certainly presents a formidable challenge for any future competitor to match. We shall have to wait until September for ‘Das Rheingold’ and 2014 for the remainder of this cycle to appear.
Copyright © 2013 Graham Williams and SA-CD.net