Richard Wagner – Der Ring des Nibelungen:Die Walküre (‘The Valkyrie’) III. a

Performer: Helen Watts (Alto), Vera Schlosser (Soprano), Helga Dernesch (Soprano), 
Berit Lindholm (Soprano), Brigitte Fassbaender (Mezzo Soprano), Christa Ludwig (Mezzo Soprano), 
Birgit Nilsson (Soprano), Marilyn Tyler (Soprano), Gottlob Frick (Bass), 
Régine Crespin (Soprano), James King (Tenor), Vera Little (Alto), 
Hans Hotter (Baritone), Claudia Hellmann (Mezzo Soprano) 
Conductor: Sir Georg Solti 
Orchestra/Ensemble: Vienna Philharmonic Orchestra 
Period: Romantic 
Written: 1856; Germany 
Date of Recording: 1965 
Venue: Sofien Hall, Vienna, Austria 
Length: 228 Minutes 59 Secs. 
Language: German

Wilhelm Richard Wagner (/ˈvɑːɡnər/German: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas (or, as some of his later works were later known, “music dramas”). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk (“total work of art”), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama, and which was announced in a series of essays between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).

His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music.

Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed in an annual festival run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).

Until his final years, Wagner’s life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment in recent decades, especially where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century; their influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.

'The Valkyrie'

‘The Valkyrie’

Main articles: Der Ring des NibelungenDer Ring des Nibelungen: Composition of the music, and Der Ring des Nibelungen: Composition of the poem

Richard Wagner

Richard Wagner

@

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s