Wagner: Siegfried (Remastered 2022) Wiener Philharmoniker & Sir Georg Solti

• Richard Wagner (1813 - 1883): Siegfried, WWV 86C / Act I:
• 1 Wagner: Siegfried, WWV 86C / Act I: Vorspiel (Remastered 2022) 03:46
• 2 Wagner: Siegfried, WWV 86C / Act I: Zwangvolle Plage! Müh ohne Zweck! (Remastered 2022) 04:14
• 3 Wagner: Siegfried, WWV 86C / Act I: Hoiho! Hoiho! Hau ein! Hau ein! (Remastered 2022) 01:39
• 4 Wagner: Siegfried, WWV 86C / Act I: Du hast du die Stücken, schändlicher Stumpfer! (Remastered 2022) 02:24
• 5 Wagner: Siegfried, WWV 86C / Act I: Als zullendes Kind zog ich dich auf (Remastered 2022) 01:40
• 6 Wagner: Siegfried, WWV 86C / Act I: Vieles lehrtest du, Mime (Remastered 2022) 08:32
• 7 Wagner: Siegfried, WWV 86C / Act I: Einst lag wimmernd ein Weib (Remastered 2022) 05:39
• 8 Wagner: Siegfried, WWV 86C / Act I: Und diese Stücken sollst du mir schmieden (Remastered 2022) 01:20
• 9 Wagner: Siegfried, WWV 86C / Act I: Da stürmt er hin! (Remastered 2022) 01:46
• 10 Wagner: Siegfried, WWV 86C / Act I: Heil dir, weiser Schmied! (Remastered 2022) 03:36
• 11 Wagner: Siegfried, WWV 86C / Act I: Hier sitz' ich am Herd (Remastered 2022) 10:23
• 12 Wagner: Siegfried, WWV 86C / Act I: Was zu wissen dir frommt (Remastered 2022) 08:10
• 13 Wagner: Siegfried, WWV 86C / Act I: Nach eitlen Fernen forschtest du (Remastered 2022) 02:01
• 14 Wagner: Siegfried, WWV 86C / Act I: Verfluchtes Licht (Remastered 2022) 01:03
• 15 Wagner: Siegfried, WWV 86C / Act I: Heda! Du Fauler! (Remastered 2022) 03:20
• 16 Wagner: Siegfried, WWV 86C / Act I: Fühltest du nie im finstren Wald (Remastered 2022) 05:13
• 17 Wagner: Siegfried, WWV 86C / Act I: Her mit den Stücken (Remastered 2022) 03:11
• 18 Wagner: Siegfried, WWV 86C / Act I: Notung! Notung! Neidliches Schwert! (Remastered 2022) 08:27
• 19 Wagner: Siegfried, WWV 86C / Act I: Hoho! Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert! (Remastered 2022) 05:43
• Siegfried, WWV 86C / Act II:
• 20 Wagner: Siegfried, WWV 86C / Act II: Vorspiel (Remastered 2022) 05:25
• 21 Wagner: Siegfried, WWV 86C / Act II: In Wald und Nacht (Remastered 2022) 02:13
• 22 Wagner: Siegfried, WWV 86C / Act II: Zur Neidhöhle fuhr ich bei Nacht (Remastered 2022) 05:48
• 23 Wagner: Siegfried, WWV 86C / Act II: Mit mir nicht, hadre mit Mime (Remastered 2022) 02:21
• 24 Wagner: Siegfried, WWV 86C / Act II: Fafner! Fafner ! Erwache, Wurm! (Remastered 2022) 02:47
• 25 Wagner: Siegfried, WWV 86C / Act II: Nun, Alberich! das schlug fehl (Remastered 2022) 03:38
• 26 Wagner: Siegfried, WWV 86C / Act II: Wir sind zur Stelle! (Remastered 2022) 06:05
• 27 Wagner: Siegfried, WWV 86C / Act II: Daß der mein Vater nicht ist (Remastered 2022) 01:45
• 28 Wagner: Siegfried, WWV 86C / Act II: Aber wie sah meine Mutter wohl aus? (Waldweben) (Remastered 2022) 02:32
• 29 Wagner: Siegfried, WWV 86C / Act II: Meine Mutter, ein Menschenweib! (Remastered 2022) 05:50
• 30 Wagner: Siegfried, WWV 86C / Act II: Haha! Da hätte mein Lied! (Remastered 2022) 05:34
• 31 Wagner: Siegfried, WWV 86C / Act II: Wer bist du, kühner Knabe (Remastered 2022) 04:31
• 32 Wagner: Siegfried, WWV 86C / Act II: Zur Kunde taugt kein Toter (Remastered 2022) 02:14
• 33 Wagner: Siegfried, WWV 86C / Act II: Wohin schleichst du (Remastered 2022) 02:45
• 34 Wagner: Siegfried, WWV 86C / Act II: Was ihr mit nützt, weiß ich nicht (Remastered 2022) 02:54
• 35 Wagner: Siegfried, WWV 86C / Act II: Willkommen, Siegfried (Remastered 2022) 08:57
• 36 Wagner: Siegfried, WWV 86C / Act II: Da lieg auch du, dunkler Wurm! (Remastered 2022) 08:50
• Siegfried, WWV 86C / Act III:
• 37 Wagner: Siegfried, WWV 86C / Act III: Vorspiel (Remastered 2022) 02:01
• 38 Wagner: Siegfried, WWV 86C / Act III: Wache, Wala! (Remastered 2022) 01:58
• 39 Wagner: Siegfried, WWV 86C / Act III: Stark ruft das Lied (Remastered 2022) 10:37
• 40 Wagner: Siegfried, WWV 86C / Act III: Dir Unweisen ruf' ich ins Ohr (Remastered 2022) 04:47
• 41 Wagner: Siegfried, WWV 86C / Act III: Mein Vöglein schwebte mir fort! (Remastered 2022) 00:23
• 42 Wagner: Siegfried, WWV 86C / Act III: Wohin, Knabe, heisst dich dein Weg? (Remastered 2022) 05:19
• 43 Wagner: Siegfried, WWV 86C / Act III: Kenntest du mich (Remastered 2022) 05:13
• 44 Wagner: Siegfried, WWV 86C / Act III: Mit zerfochtner Waffe wich mir der Feige? (Remastered 2022) 03:49
• 45 Wagner: Siegfried, WWV 86C / Act III: Seliger Öde auf wonniger Höh' (Remastered 2022) 07:07
• 46 Wagner: Siegfried, WWV 86C / Act III: Das ist kein Mann! (Remastered 2022) 07:06
• 47 Wagner: Siegfried, WWV 86C / Act III: Heil dir, Sonne! (Brünnhildes Erwachen) (Remastered 2022) 06:08
• 48 Wagner: Siegfried, WWV 86C / Act III: O Siegfried! (Remastered 2022) 06:48
• 49 Wagner: Siegfried, WWV 86C / Act III: Dort seh' ich Grane (Remastered 2022) 08:04
• 50 Wagner: Siegfried, WWV 86C / Act III: Ewig war ich (Remastered 2022) 11:17
• Total Runtime 03:56:53

Info for Wagner: Siegfried (Remastered 2022)

NEUER 24bit/192kHz STEREO Transfer: Als dritte Veröffentlichung des legendären Solti-Ring erscheint SIEGFRIED. Die weiteren Musikdramen des Ring-Zyklus‘ erscheinen in den kommenden Monaten.

Zu Beginn des Dokumentarfilms "The Golden Ring" von 1965 sind Humphrey Burton und Decca-Produzent John Culshaw auf dem Rücksitz einer Limousine zu sehen, die auf dem Weg zum Flughafen ist, um Georg Solti zu treffen. Burton fragt Culshaw, was sein größtes Anliegen sei, jetzt, wo die Aufnahmen beginnen. "Wagner gerecht zu werden", antwortet Culshaw und fügt dann aussagekräftig hinzu, "und zu versuchen, im Klang und allein in diesem Medium wiederzugeben, was er wollte, was er meinte".

Beim Decca-Ring ging es immer um den Klang. Mit dieser neuen Übertragung der originalen analogen Masterbänder hat sich Decca bemüht, das Beste für Solti, für Culshaw und seinen Chefingenieur Gordon Parry und letztlich für Wagner herauszuholen. "Dies ist die bisher größte Leistung der Grammophongeschichte", schrieb Alec Robertson 1965 im Gramophone Magazin. Es war die perfekte Verbindung von Kunst und Technik. Solti und Culshaw stellten eine Traumbesetzung der führenden Wagner-Sänger ihrer Zeit zusammen, darunter Birgit Nilsson, Wolfgang Windgassen, Hans Hotter, Gottlob Frick, Kirsten Flagstad, Régine Crespin, Dietrich Fischer-Dieskau, Christa Ludwig, James King, Lucia Popp und Joan Sutherland.

"Niemand hat Soltis DECCA-Ring in Schwung, Anspruch, Größe, dramatischer Unmittelbarkeit und schierem Adrenalin übertroffen" (Stereophile)

"Eine grandios besetzte und von Innenspannung ebenso wie von orchestraler Virtuosität getragene Operneinspielung, die bis heute nichts an Aktualität eingebüßt hat.​ Ein brillantes, weites, betont opernrealistisch aufbereitetes Klangpanorama, das von zahlreichen neueren Aufnahmen nicht annähernd erreicht wurde.​ Geradezu eine Sensation." (Stereo Magazin)

Neue Möglichkeiten der Technik: Soltis Siegfried entstand in den Jahren 1958 bis 1965. Es war die erste Studio-Gesamteinspielung von Wagners monumentalem Zyklus mit den vier Opern “Das Rheingold”, “Die Walküre”, “Siegfried” und “Götterdämmerung”. Unterdessen entwickelte die Aufnahmetechnik sich weiter, und Decca trug den Veränderungen Rechnung, indem sie neu gemasterte Versionen der Kultaufnahme in den Handel brachte. Die letzte audiophile Neu-Ausgabe von Soltis Ring liegt indes schon zehn Jahre zurück, und seither hat die Technik entscheidende Fortschritte erzielt. Dies bewog Decca zu einer audiophilen Neu-Edition. Philip Siney, langjähriger Tonmeister des Labels, besorgte das Remastering, das mit HD 24 bit / 192kHz-Transfers auf die originalen Masterbänder geschah und ein einzigartiges Klangniveau generierte.

“The Greatest Recording of All Time” schrieben sowohl das Gramophone Magazine 1999 als auch das BBC Music Magazine 2011. Sir Soltis Aufnahme wurde mit dem Grammy Award, dem Edison Award und dem Grand Prix Mondial du disque ausgezeichnet – zurecht, wie man auf den ersten Ton hören kann. Die Kombination von Sir Georg Solti und den Wiener Philharmonikern in Zusammenarbeit mit den bedeutendsten Wagner-Sängern der 50er und 60er Jahre schafft vor den Mikrofonen eine nahezu elektrisierende Atmosphäre. Die Wiener Philharmoniker baden hingebungsvoll in Wagners romantischen Klängen und verstehen sich darauf, jeden sinnlichen Gefühlsausdruck in den hochemotionalen Opern mit musikalischem Leben zu füllen. Über 100 Musiker sind im Orchester beteiligt, zum Teil kommen sechs Harfen und vier Basstuben gleichzeitig zum Einsatz. Und so gewaltig die Klangmassen auch sind, Sir Georg Solti navigiert das Orchester stets geschmackvoll und stilsicher durch die Partituren. Man spürt, dass Sir Solti Wagners romantische Seite verehrt, dass er alle märchenhaften Facetten der Musik herauskitzeln will und sich gar nicht bemüht, den Kompositionen eine schlankere Gestalt anzutrainieren. Und das macht vermutlich die Authentizität und die soghafte Wirkung der Aufnahmen aus.

Wolfgang Windgassen, Tenor (Siegfried)
Birgit Nilsson, Sopran (Brünnhilde)
Gerhard Stolze, Tenor (Mime)
Hans Hotter, Bass (Wanderer)
Gustav Neidlinger, Bass (Alberich)
Marga Höffgen, Alt (Erda)
Kurt Böhme, Bass (Fafner)
Dame Joan Sutherland, Sopran (Waldvogel)
Wiener Philharmoniker
Sir Georg Solti, Dirigent

Digitally remastered

Sir Georg Solti
was one of this century’s most brilliant conductors and a leading figure of musical culture in Europe and the US. The great Maestro made his first recordings for Decca in 1947, as a pianist with Kulenkampff (Brahms and Beethoven violin sonatas) and as a conductor with the Zurich Tonhalle Orchestra (Beethoven Egmont Overture). He continued as an exclusive Decca artist for over half a century and leaves a vast legacy of over 250 great recordings - including 45 complete operas - chiefly with the Vienna Philharmonic, the London Philharmonic and the Chicago and London Symphony Orchestras. He won many international honours for his recordings including 32 Grammy awards - more than any other classical or popular recording artist.

Sir Georg studied piano, composition and conducting with Bartók, Dohnányi, Kodály and Leo Weiner at Budapest’s Liszt Academy. Although he made his concert debut as a pianist, he was soon engaged as a conductor by the Budapest Opera. In 1937, Toscanini selected him as his assistant at the Salzburg Festival. Before the outbreak of World War II, Sir Georg went to Switzerland as a refugee, turning again to the piano for his livelihood and in 1942, he was awarded first prize in the Concours International in Geneva.

Following the war in 1946, he was invited by the American military government to conduct a performance of Beethoven's Fidelio in Munich. The success of this performance led to his appointment as Music Director of the Bavarian State Opera, whose quality and reputation he firmly re-established over the next six years. During his tenure in Munich, the Salzburg Festival was revived and Sir Georg appeared there, as well as in Vienna, Berlin, Paris, Rome, Florence and Buenos Aires.

In 1952, Maestro Solti accepted the post of Artistic and Music Director at the Frankfurt City Opera, where he remained for nine years. From 1961 until 1971, he was Music Director of the Royal Opera House, Covent Garden, and in 1992 was named Music Director Laureate. During his tenure there he achieved international fame for his performances of Die Frau ohne Schatten, the British premiere of Moses und Aron and Wagner’s Ring. With Decca he made perhaps the most famous single recording of all time - the entire Ring cycle with the Vienna Philharmonic. It took seven years to complete and was the first complete studio recording.

Maestro Solti's remarkable partnership with the Chicago Symphony Orchestra began in 1954, when he first led the Orchestra at the Ravinia Festival. He returned to Chicago for guest engagements with the Lyric Opera in 1956, conducting Die Walküre, Salome, and La forza del destino. His Chicago Orchestra Hall debut took place on December 9, 1965, and his first concerts as Music Director were in September 1969. Maestro Solti served as Music Director for 22 years (1969-1991) and is credited with greatly extending and enhancing the Orchestra's worldwide reputation - its first foreign tour, in 1971, was under his direction. As Music Director Laureate he was due to conduct the orchestra’s 1000th concert at the beginning of October. Up until his death last year, Sir Georg’s performing schedule was as packed as that of a man half his age, and he had engagements booked up to the 21st century.

For his outstanding contribution to music, he received a knighthood from Queen Elizabeth II of Great Britain in 1972. From 1979 to 1984, he served as Principal Conductor and Artistic Director of the London Philharmonic Orchestra and subsequently its Conductor Emeritus. Maestro Solti has received honorary doctor of music degrees from Oxford University, the University of London, and the Universities of Durham, Leeds and Surrey; and in the United States from Roosevelt and De Paul Universities in Chicago, Yale and Harvard Universities, and the Eastman School of Music. He has received an honorary doctor of humanities degree from Furman University, Greenville, South Carolina. An honorary degree "in disciplines of art, music, and drama" from the University of Bologna completes the list of honorary degrees.

As well as his record number of Grammys Sir Georg has received many other major awards. In 1989, he received the Gold Medal of the Royal Philharmonic Society, Great Britain's highest musical honour (previous recipients include Johannes Brahms, Richard Strauss, Arturo Toscanini and Igor Stravinsky). He is an honorary fellow of the Royal College of Music, London. In September 1985, Sir Georg was given the title of Professor Honoris Causa by the Minister-President of Baden-Württemberg in Germany. He also received the Knight Commander's Cross (with badge and star) of the Order of Merit from the Federal Republic of Germany and the 1987 Loyola-Mellon Humanities Award. That year, on the occasion of his seventy-fifth birthday, Maestro Solti received the Medal of Merit, Chicago's highest award, and was honoured with the dedication of a bronze bust of his likeness in Lincoln Park. He also received the Order of the Flag of the Republic of Hungary and was named "Musician of the Year" by Musical America.

In 1988, he received the Edward Moss Martin Award from the Union League Civic and Arts Foundation in Chicago and, in 1992, the Leonie Sonning Music Prize from Denmark. In 1993, he received the Middle Cross of the Order of Merit with Star from the Republic of Hungary. In that same year to mark his 80th birthday, and a collaboration of over 40 years, the Vienna Philharmonic Orchestra struck and presented to Sir Georg as its first recipient, the "Hans Richter Medal". In December 1993, he was the recipient of the Kennedy Center Honour and the Belgian title of "Commandeur de l'Ordre de Leopold." In 1994, he received the "Ordem Militar De Santiago De Espada" from the President of Portugal, the country's highest civilian honour (the last musician to receive it was Stravinsky in 1954). He holds the French "Légion d'Honneur" and in 1995 received the "Commandeur de l'Ordre des Arts et des Lettres." In 1996, he was given the honour "Knight Grand Cross of the Order of Merit of the Republic of Italy" and the Académie du Disque Lyrique in Paris established the "Solti Prize", to be awarded annually to an outstanding young singer. The first recipient of this prestigious award was American soprano Renée Fleming.

In October 1998, a little over a year after his death, Sir Georg Solti’s life and music were celebrated in a special concert recorded for TV and audio at London’s Royal Albert Hall. Mstislav Rostropovich, Angela Gheorghiu, Anne Sofie von Otter, Maxim Vengerov and Zubin Mehta joined the London Philharmonic Orchestra for the occasion, which also raised money for the newly formed Solti Foundation, a fund conceived of by Sir Georg just before he died with the aim of promoting musical education and helping young talent throughout the world. A plaque now adorns the Budapest house where Solti grew up. The conductor's ashes were interred in Budapest next to Bartok's grave.

This album contains no booklet.