{"title":"Franz Konwitschny","description":null,"products":[{"product_id":"paco235","title":"KONWITSCHNY Wagner’s Ring: 1. Das Rheingold (Covent Garden, 1959) - PACO235","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Das Rheingold\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast performance, 1959\u003cbr\u003eTotal duration: 2hr 30:46\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eLoge - \u003cb\u003eRichard Holm\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eFasolt - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChorus and Orchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003csection data-pristine-review=\"fanfare-1128\"\u003e\u003cp\u003e\u003cstrong\u003eFanfare — Dominic Hartley\u003c\/strong\u003e\u003cbr\u003eIssue 50:1 (Sept\/Oct 2026) · \u003ca href=\"https:\/\/fanfarearchive.com\/articles\/atop\/50_1\/5013290.az_WAGNER_Das_Rheingold_Franz.html\"\u003eRead the original review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWith the issue of this 1959 Covent Garden Rheingold under Franz Konwitschny, Pristine now has half a dozen complete or in-progress postwar Ring cycles: Furtwängler’s two (La Scala 1950, RAI Rome 1953); Krauss at Bayreuth in 1953; Knappertsbusch at Bayreuth in 1956; Leinsdorf at the Met in 1961–62; and now Konwitschny. What strikes me today—and what I think is the proper context in which to receive this release—is the cumulative picture. Pristine has begun to give us back not merely a set of classic individual performances but something approaching a topography of mid-century Wagner.\u003c\/p\u003e\n\u003cp\u003eThe point is not parochial. It would be easy enough to frame this Rheingold as the British area of that landscape. The BBC’s annual Ring broadcasts, alternating between Bayreuth and the Royal Opera, were a fixture of British musical life in the 1950s in a way that is hard to imagine now. The interest of this release is wider than that, though. We are increasingly in a position to triangulate. We can hear Hans Hotter’s Wotan under Krauss and Knappertsbusch at Bayreuth and now at Covent Garden under a different conductor and with a substantially different supporting cast. Three readings within six years. We can hear Konwitschny’s Rheingold against Krauss’s, Knappertsbusch’s, Leinsdorf’s, and the two Furtwängler’s, and notice, among many other things, how variously the orchestral writing was being realized in these years, how differently the descent into Nibelheim or the entry into Valhalla could be paced and weighted.\u003c\/p\u003e\n\u003cp\u003eThat’s the case I want to make for this release in its broader context, and it is a case I would make even if the recording itself was of merely documentary interest. As it happens, it’s rather better than that. Konwitschny is not Furtwängler, perhaps, but he is a Wagnerian of real distinction. Born in Moravia in 1901, he had a long association with the Leipzig Gewandhaus and with the Berlin Staatsoper. He was widely regarded in his lifetime as one of the leading German conductors of his generation, particularly in Wagner and Bruckner. He died in 1962, only three years after this Rheingold was broadcast, which gives the recording an additional retrospective interest. It catches him near the end of a career that ought to be much better known than it is.\u003c\/p\u003e\n\u003cp\u003eWhat strikes me about his work here is the absence of any straining after grandeur and the corresponding presence of theatrical instinct. There is a sense throughout of a conductor thinking dramatically. Of the cast, Otakar Kraus’s Alberich is a particular pleasure. He’s not the snarling caricature one sometimes hears, but a wronged and resentful presence. Richard Holm makes a plausible Loge, sly and ambivalent. And then there’s Hotter. His intelligence here, his textual specificity, the way he weighs every phrase as if he were sounding out the line for the first time, is wonderful.\u003c\/p\u003e\n\u003cp\u003eA word too on the engineering, which the liner notes describe as astonishingly good for 1959, a claim absolutely borne out on listening. The original BBC broadcast preserves the balance between stage and pit wonderfully well and Andrew Rose’s Ambient Stereo XR remastering has opened the sound out further. The remaining three operas are on their way. I’ll be waiting for them. Dominic Hartley\u003c\/p\u003e\u003c\/section\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO235.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAmong the many surviving post-war \u003ci\u003eRing \u003c\/i\u003ecycles, the 1959 Covent Garden performances occupy a particularly fascinating place. They unite an almost ideal cast of Bayreuth veterans with one of the great Wagner conductors of the German tradition, all captured in vivid BBC broadcast sound from a house whose Wagner performances had, by this time, become annual landmarks for British listeners. Heard today, this \u003ci\u003eRheingold\u003c\/i\u003e offers not merely a starry cast list but a revealing snapshot of Wagner performance practice at the close of the 1950s: a style rooted in textual clarity, dramatic momentum and vocal characterisation, with the orchestra driven less toward symphonic monumentality than toward theatrical urgency. It is precisely this combination of seasoned singers, sharply profiled conducting and live theatrical electricity that gives the performance its enduring fascination.\n\u003cbr\u003e\u003cbr\u003e\nIn the 1950s, the BBC broadcast Richard Wagner’s four-part \u003ci\u003eDer Ring des Nibelungen\u003c\/i\u003e every year, either from Covent Garden or from Bayreuth. By the time this Covent Garden cycle was broadcast in 1959, the radio audience would have been very familiar with the key principals: Astrid Varnay as Brünnhilde, Hans Hotter as Wotan, and Wolfgang Windgassen as Siegfried. But it is hard to imagine that any listener would have been disgruntled since they had the privilege of listening to some of the finest singers of the time in roles they had completely mastered. An added bonus in 1959 was that the singers came to Covent Garden in September 1959 comparatively fresh since there had been no Ring Cycle in Bayreuth that year.\n\u003cbr\u003e\u003cbr\u003e\n\u003ci\u003eDas Rheingold\u003c\/i\u003e has a large ensemble cast but is led by Wotan and Alberich. Hans Hotter’s mastery of the role of Wotan is unquestioned, able to convey the nuances of text with utmost clarity. Hotter had been singing professionally for nearly thirty years by 1959, but his magnificent portrayal of the arrogant deity in the opening of the cycle remains utterly captivating. Otakar Kraus, incidentally the same age as Hotter, provides us with an absorbing and convincing Alberich, which one reviewer noted “was more than merely a nasty specimen of the power-maniac but a bully much wronged, so that his final curse had the ring of truth.” Critics also singled out the “singularly plausible” Loge of Richard Holm, the “radiant” Freia of Una Hale, and the “warm vibrant-voiced” Fricka of Ursula Böse - whom \u003ci\u003eOpera\u003c\/i\u003e magazine compared to Kathleen Ferrier. Singular praise indeed.\n\u003cbr\u003e\u003cbr\u003e\nThe newcomer to this production is the conductor Franz Konwitschny. Rudolf Kempe, the Royal Opera’s music director, elected not to conduct the Ring as he had done in 1957, and instead invited Konwitschny, General Music Director of the Deutsche Staatsoper in Berlin, to come to London. Konwitschny was particularly attentive to the needs of his cast, ensuring that the orchestra supported rather than overwhelmed the singers. Critics naturally compared the two conductors, believing that Kempe constructed an over-arching narrative that treated the four operas as one entity, while Konwitschny concentrated in on small sections providing “brilliance and surge” to create a true sense of excitement. The descent into Nibelheim is just one example of a thrilling Konwitschny “surge” that can be heard in this BBC broadcast of \u003ci\u003eDas Rheingold\u003c\/i\u003e.\n\u003cbr\u003e\u003cbr\u003e\nQuite apart from the stature of the performance itself, what is especially striking today is the quality of the original BBC engineering. Despite the inevitable challenges of a live 1959 Covent Garden relay, the balance between stage and pit is remarkably natural, preserving both vocal presence and orchestral detail with impressive consistency. There is a tangible sense of the theatre in the air around the voices, the orchestra emerging with clarity and weight while still retaining the excitement of live performance. For this release, Pristine’s Ambient Stereo XR remastering has further opened out the original broadcast image, restoring depth, warmth and spatial realism to the soundstage. The result is a listening experience that brings this great Covent Garden \u003ci\u003eRheingold\u003c\/i\u003e vividly into the present, allowing modern ears to appreciate not only the magnificence of the singing and conducting, but also just how expertly the BBC captured these landmark performances.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Das Rheingold\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (73:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (4:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Weia! Waga! Woge, du Welle!\u003cspan style=\"font-size: 12px;\"\u003e (2:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Garstig glatter glitschiger Glimmer!\u003cspan style=\"font-size: 12px;\"\u003e (5:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Wallala! Lalaleia!\u003cspan style=\"font-size: 12px;\"\u003e (2:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Lugt, Schwestern!\u003cspan style=\"font-size: 12px;\"\u003e (6:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Der Welt Erbe gewann ich zu eigen durch dich!\u003cspan style=\"font-size: 12px;\"\u003e (4:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Wotan! Gemahl! Erwache!\u003cspan style=\"font-size: 12px;\"\u003e (9:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Sanft schloß Schlaf dein Aug’\u003cspan style=\"font-size: 12px;\"\u003e (7:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e In ihrer Mitte sei sie entführt!\u003cspan style=\"font-size: 12px;\"\u003e (2:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Endlich Loge!\u003cspan style=\"font-size: 12px;\"\u003e (3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Immer ist Undank Loges Lohn!\u003cspan style=\"font-size: 12px;\"\u003e (7:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Ein Runenzauber zwingt das Gold zum Reif\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Hör’, Wotan, der Harrenden Wort!\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Was sinnt nun Wotan so wild?\u003cspan style=\"font-size: 12px;\"\u003e (4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Auf, Loge, hinab mit mir!\u003cspan style=\"font-size: 12px;\"\u003e (4:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Hehe! Hehe! Hieher\u003cspan style=\"font-size: 12px;\"\u003e (1:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (77:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Dem Haupt fügt sich der Helm\u003cspan style=\"font-size: 12px;\"\u003e (1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Nibelheims Nacht walzt mich umher. Heil! Wer dort?\u003cspan style=\"font-size: 12px;\"\u003e (5:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Nehmt euch in acht! Alberich naht! Sein harren wir!\u003cspan style=\"font-size: 12px;\"\u003e (8:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Vergeh, frevelnder Gauch! - Was sagt der! - Sei doch bei Sinnen!\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Ohe! Hahaha! Ohe! Hahaha! Schreckliche Schlange!\u003cspan style=\"font-size: 12px;\"\u003e (6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE 4\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Da, Vetter, sitze du fest!\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Gezahlt hab' ich; nun laßt mich zieh'n!\u003cspan style=\"font-size: 12px;\"\u003e (6:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Bin ich nun frei! Wirklich frei!\u003cspan style=\"font-size: 12px;\"\u003e (4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Fasolt und Fafner nahen von fern\u003cspan style=\"font-size: 12px;\"\u003e (5:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Gepflanzt sind die Pfähle\u003cspan style=\"font-size: 12px;\"\u003e (6:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Weiche, Wotan, weiche!\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Hort, ihr Riesen! Zurück, und harret! - Halt, du Gieriger!\u003cspan style=\"font-size: 12px;\"\u003e (6:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Schwules Gedunst - Zur Burg führt die Brücke\u003cspan style=\"font-size: 12px;\"\u003e (3:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Abendlich strahlt der Sonne Auge\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Rheingold! Rheingold! Reines Gold! Wie lauter und hell\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus and Orchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLeader: Charles Taylor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eDonner - \u003cb\u003eDavid Kelly\u003c\/b\u003e\u003cbr\u003eFroh - \u003cb\u003eEdgar Evans\u003c\/b\u003e\u003cbr\u003eLoge - \u003cb\u003eRichard Holm\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eMime - \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003eFasolt - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eUrsula Böse\u003c\/b\u003e\u003cbr\u003eFreia - \u003cb\u003eUna Hale\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003eWoglinde - \u003cb\u003eJoan Carlyle\u003c\/b\u003e\u003cbr\u003eWellgunde - \u003cb\u003eJosephine Veasey\u003c\/b\u003e\u003cbr\u003eFlosshilde - \u003cb\u003eMarjorie Thomas\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBBC radio broadcast from Royal Opera House, Covent Garden, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e18\u003c\/span\u003e September 1959\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Franz Konwitschny\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 30:46\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO235.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO235.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59435043881294,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59435043914062,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59435043946830,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO235_a46db48b-091e-45d0-8a0f-5e1833afbde8.jpg?v=1776384008"},{"product_id":"paco235-cd","title":"KONWITSCHNY Wagner’s Ring: 1. Das Rheingold (Covent Garden, 1959) - PACO235 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO235.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":59435008131406,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":true},{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":59435008164174,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO235_c64e09f7-d4b6-41e6-b4a0-4f35ab6a3420.jpg?v=1776173454"},{"product_id":"paco237","title":"KONWITSCHNY Wagner’s Ring: 2. Die Walküre (Covent Garden, 1959) - PACO237","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Walküre\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eLive broadcast performance, 1959\u003cbr\u003eTotal duration: 3hr 38:06\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eSiegmund -\u003cb\u003e Ramón Vinay\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eAmy Shuard\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eUrsula Böse\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003csection data-pristine-review=\"fanfare-1201\"\u003e\u003cp\u003e\u003cstrong\u003eFanfare — Dominic Hartley\u003c\/strong\u003e\u003cbr\u003eIssue 50:2 (Nov\/Dec 2026) · \u003ca href=\"https:\/\/fanfarearchive.com\/articles\/atop\/50_2\/5023930.az_WAGNER_Die_Walkure_Franz.html\"\u003eRead the original review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eWhen I reviewed Pristine’s release of Konwitschny’s Rheingold in Fanfare 50:1, I was particularly struck by his dramatic instinct as a conductor. Die Walküre is more of a test for the range of that instinct, though. The fact that I wasn’t surprised by his effortless grasp of pacing for act I doesn’t mean I wasn’t swept away by it. I very much was. From the first notes of the storm (the Covent Garden lower strings sounding wonderfully stressed) to its rhapsodic conclusion, this is one of the most thrilling accounts of the foundational interaction between Siegmund and Sieglinde that I’ve ever heard. It’s undoubtedly helped by the chemistry between Amy Shuard’s Sieglinde—early in her Wagnerian career and sounding fresh in voice—and the veteran Ramón Vinay as Siegmund, who brings his experience to the role in a profoundly thoughtful way and knows how to use his voice to fill out the characterization he wants to project. He’s not world-weary, exactly, but he sounds almost haunted as he relates the events leading up to the fateful meeting. Konwitschny is subtly alive to every nuance of the act’s architecture: the tension sparked by Hunding’s appearance (a completely chilling Kurt Böhme) brilliantly realized, the removal of Nothung inexorably paced, that ecstatic conclusion carrying a spiritual as well as theatrical significance.\u003c\/p\u003e\n\u003cp\u003eIf I wasn’t surprised by the brilliance of act I, I’ll confess I was curious to hear how Konwitschny fared in the rest of the work. Act II was a revelation. It feels as if it’s sparked by Hotter’s Wotan, more daring live than in the recording studio. In scene 2, he somehow inverts the dynamic so that it seems as if he’s allowing Ursula Böse’s earnest Fricka to walk all over him. He reacts to her every utterance with something close to scientific interest, and Konwitschny is clearly reacting to him. Hotter’s handling of the monologue that follows is just riveting and makes you doubt what you thought you saw in his behavior a few minutes before—he has lost; he is devastated. Again, Konwitschny is with him at every step. The Todesverkündigung is equally exciting. It feels utterly realistic from a psychological perspective: anguish, tension, nobility, and profound emotion fizzing in the mix thanks to the acting of Vinay and Astrid Varnay’s impetuous and compassionate Brünnhilde. Here too, it’s striking that Konwitschny is rightly content to trust his principals’ vision of the scene and offers incisive, sympathetic support.\u003c\/p\u003e\n\u003cp\u003eI should stress that Konwitschny isn’t such an exciting conductor of Wagner because he unwaveringly goes for fast tempos. The famous opening of act III here is actually quite measured, but Konwitschny’s sense of dramatic cadence and timing is impeccable. There’s a simultaneous feeling of martial nobility and dreadful foreboding, compellingly set out. The foreboding is real, of course, and its consequences enacted in the final scene of the opera, where Hotter views Varnay’s defense of her actions (she’s marvelous here: courageous but possessed, projecting huge moral force) with a sort of jurisprudential but doom-laden empathy. The occasional sparks of anger he allows himself carry perfect dramatic punctuation. In short: Hotter’s singing is wonderful, but I’d never quite realized what a consummate actor he was until listening to the first two installments of this cycle.\u003c\/p\u003e\n\u003cp\u003eOne final thing on Konwitschny. His treatment of the leitmotifs is exceptional. His instinct for their respective prominence and role is superb. Sometimes pivotal, sometimes something you only gradually become aware of, they are always illuminating, integral, and delivered with unerring dramatic momentum.\u003c\/p\u003e\n\u003cp\u003eProducer Andrew Rose has once more used Pristine’s Ambient Stereo remastering technique to excellent effect, investing what was a very good live opera broadcast (I had to keep reminding myself this was 1959!) with a sense of warmth and spaciousness. Stage positions register clearly, and the voices are never overpowered by the orchestra. You’re aware that it’s live from the occasional cough and the welcome applause, but above all from the kinetic dynamic that pervades the whole performance. I wonder what Siegfried will bring. Dominic Hartley\u003c\/p\u003e\u003c\/section\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO237.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAmong the many surviving post-war \u003cem\u003eRing\u003c\/em\u003e cycles, the 1959 Covent Garden performances occupy a particularly fascinating place. They unite a remarkable company of Wagner singers, many of them veterans of Bayreuth and the international stage, with Franz Konwitschny, one of the major German conductors of his generation. Heard today, these performances offer far more than star casting. They preserve a style of Wagner singing and conducting poised between older dramatic immediacy and the more sculpted, symphonic approach that would increasingly dominate later decades.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFollowing \u003cem\u003eDas Rheingold\u003c\/em\u003e, this 23 September 1959 broadcast of \u003cem\u003eDie Walküre\u003c\/em\u003e brings us to the emotional heart of the cycle. If \u003cem\u003eRheingold\u003c\/em\u003e is the glittering prelude to catastrophe, \u003cem\u003eDie Walküre\u003c\/em\u003e is where Wagner’s drama becomes painfully human: the meeting of Siegmund and Sieglinde, Wotan’s terrible conflict between power and love, Brünnhilde’s awakening compassion, and the final, devastating farewell between father and daughter. It is also the point at which a \u003cem\u003eRing\u003c\/em\u003e performance must prove itself not merely by splendour, but by its capacity for intimacy, tenderness and sustained dramatic pressure.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1959 Covent Garden \u003cem\u003eRing\u003c\/em\u003e was eagerly followed in the press, though reviewers tended to discuss the cycle as a whole rather than each broadcast separately. What emerges clearly from their accounts is that Konwitschny’s arrival was felt as a significant change after Rudolf Kempe’s earlier Royal Opera performances. Critics noted that Kempe had shaped the four operas with a strong sense of overall continuity, while Konwitschny worked in shorter spans, giving particular scenes a vivid surge and theatrical sharpness. He was not a conductor afraid of rough edges or dramatic force, and contemporary reports suggest that he could drive climaxes with considerable power while remaining unusually attentive to the balance between stage and pit.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat quality is essential in \u003cem\u003eDie Walküre\u003c\/em\u003e, where voices must ride the orchestra without being submerged by it. The cast is led by Astrid Varnay as Brünnhilde, Hans Hotter as Wotan, Ramón Vinay as Siegmund and Amy Shuard as Sieglinde. Varnay was already one of the great Brünnhildes of the age, a singer whose vocal authority and dramatic concentration had become defining features of post-war Wagner performance. Hotter’s Wotan likewise needs little introduction: by 1959 he had lived with the role for years, and his command of text, colour and inward conflict remained among the wonders of the Wagnerian stage.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe particular revelation for London audiences was Amy Shuard. Contemporary comment singled her out as one of the outstanding successes of the cycle. In one of her first major Wagner roles, she was praised for vocal power, sympathetic acting and firmness of line. In an opera where Sieglinde can too easily become merely the object of Siegmund’s ardour or Wotan’s decree, Shuard evidently made a strong impression as a living, suffering woman, giving the first act its necessary emotional charge.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRamón Vinay’s Siegmund was more controversial. By this stage in his career he brought immense experience and unmistakable presence, though some critics found aspects of the portrayal vocally and dramatically strained. Yet there is a compelling historical interest in hearing him here, not as an abstract ideal of lyrical heroism, but as a stage animal of the old school, throwing himself into Wagner’s drama with the authority of a singer who had inhabited this repertoire at the highest level.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKonwitschny’s \u003cem\u003eWalküre\u003c\/em\u003e may not always seek polish for its own sake. Its virtues lie elsewhere: momentum, urgency, strong theatrical profile and an instinctive understanding that Wagner’s orchestra must breathe with the singers. In the great confrontations of Act II and the long farewell of Act III, the performance belongs to a tradition in which the \u003cem\u003eRing\u003c\/em\u003e is first and foremost music drama, alive in the theatre, under pressure, and unfolding before an audience rather than preserved under studio glass.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe BBC sound is again remarkable for its period. Despite the inevitable limitations of a live Covent Garden relay from 1959, the balance between voices and orchestra is natural and engaging, with a strong sense of stage space and theatrical atmosphere. Pristine’s Ambient Stereo XR remastering further opens the original broadcast image, restoring warmth, depth and presence while preserving the electricity of live performance. The result brings this great Covent Garden \u003cem\u003eWalküre\u003c\/em\u003e vividly into the present: not as a museum relic, but as a living document of Wagner performance at a crucial moment in its post-war history.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Walküre\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (61:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (2:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Wes Herd dies auch, hier muß ich rasten\u003cspan style=\"font-size: 12px;\"\u003e (3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Kühlende Labung gab mir der Quell!\u003cspan style=\"font-size: 12px;\"\u003e (8:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Müd am Herd fand ich den Mann\u003cspan style=\"font-size: 12px;\"\u003e (4:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Friedmund darf ich nicht heißen\u003cspan style=\"font-size: 12px;\"\u003e (4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Aus dem Wald trieb es mich fort\u003cspan style=\"font-size: 12px;\"\u003e (5:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Ich weiß ein wildes Geschlecht\u003cspan style=\"font-size: 12px;\"\u003e (5:28)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Ein Schwert verhieß mir der Vater\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Schläfst du, Gast?\u003cspan style=\"font-size: 12px;\"\u003e (6:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Winterstürme wichen dem Wonnemond\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Du bist der Lenz\u003cspan style=\"font-size: 12px;\"\u003e (6:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Wehwalt heißt du fürwahr!\u003cspan style=\"font-size: 12px;\"\u003e (4:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (79:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Prelude\u003cspan style=\"font-size: 12px;\"\u003e (2:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Nun zäume dein Roß, reisige Maid!\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Der alte Sturm, die alte Müh'!\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e So ist es denn aus mit den ewigen Göttern\u003cspan style=\"font-size: 12px;\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Nichts lerntest du\u003cspan style=\"font-size: 12px;\"\u003e (5:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Was verlangst du?\u003cspan style=\"font-size: 12px;\"\u003e (5:22)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Schlimm, fürcht' ich, schloß der Streit\u003cspan style=\"font-size: 12px;\"\u003e (4:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Was keinem in Worten ich künde\u003cspan style=\"font-size: 12px;\"\u003e (5:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Ein andres ist's - achte es wohl!\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e O sag, künde, was soll nun dein Kind!\u003cspan style=\"font-size: 12px;\"\u003e (6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Raste nun hier; gönne dir Ruh!\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Hinweg! Hinweg! Flieh die Entweihte!\u003cspan style=\"font-size: 12px;\"\u003e (8:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE FOUR\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Siegmund! Sieh auf mich!\u003cspan style=\"font-size: 12px;\"\u003e (7:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Hehr bist du und heilig\u003cspan style=\"font-size: 12px;\"\u003e (5:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e So wenig achtest du ewige Wonne!\u003cspan style=\"font-size: 12px;\"\u003e (4:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDISC THREE\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT TWO, SCENE FIVE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Zauberfest bezähmt ein Schlaf\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Kehrte der Vater nur heim!\u003cspan style=\"font-size: 12px;\"\u003e (5:50)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE, SCENE ONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Prelude - Hojotoho! Hojotoho! Heiaha! Heiaha!\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Schützt mich und helft in höchster Not!\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Nicht sehre dich Sorge um mich\u003cspan style=\"font-size: 12px;\"\u003e (5:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE TWO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Steh, Brünnhild'!\u003cspan style=\"font-size: 12px;\"\u003e (0:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Wo ist Brünnhild', wo die Verbrecherin?\u003cspan style=\"font-size: 12px;\"\u003e (3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Hier bin ich, Vater - gebiete die Strafe!\u003cspan style=\"font-size: 12px;\"\u003e (3:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Wehe! Weh! Schwester, ach Schwester!\u003cspan style=\"font-size: 12px;\"\u003e (4:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSCENE THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e War es so schmählich, was ich verbrach?\u003cspan style=\"font-size: 12px;\"\u003e (5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Nicht weise bin ich, doch wusst' ich das eine\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e So tatest du, was so gern zu tun ich begehrt?\u003cspan style=\"font-size: 12px;\"\u003e (6:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Du zeugtest ein edles Geschlecht\u003cspan style=\"font-size: 12px;\"\u003e (5:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Leb wohl, du kühnes, herrliches Kind!\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Denn einer nur freie die Braut\u003cspan style=\"font-size: 12px;\"\u003e (8:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e Loge, hör! Lausche hieher!\u003cspan style=\"font-size: 12px;\"\u003e (5:03)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eLeader: Charles Taylor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSiegmund - \u003cb\u003eRamón Vinay\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eAmy Shuard\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eKurt Böhme\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eUrsula Böse\u003c\/b\u003e\u003cbr\u003eGerhilde - \u003cb\u003eJoyce Barker\u003c\/b\u003e\u003cbr\u003eOrtlinde - \u003cb\u003eUna Hale\u003c\/b\u003e\u003cbr\u003eWaltraute - \u003cb\u003eMargreta Elkins\u003c\/b\u003e\u003cbr\u003eSchwertleite - \u003cb\u003eJean Watson\u003c\/b\u003e\u003cbr\u003eHelmwige - \u003cb\u003eJudith Pierce\u003c\/b\u003e\u003cbr\u003eSiegrune - \u003cb\u003eNoreen Berry\u003c\/b\u003e\u003cbr\u003eGrimgerde - \u003cb\u003eHeather Begg\u003c\/b\u003e\u003cbr\u003eRoßweiße - \u003cb\u003eJosephine Veasey\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBBC radio broadcast from Royal Opera House, Covent Garden, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e23\u003c\/span\u003e September 1959\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Franz Konwitschny\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 38:06\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO237.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO237.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59904531824974,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59904531857742,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59904531890510,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO237.jpg?v=1781827208"},{"product_id":"paco237-cd","title":"KONWITSCHNY Wagner’s Ring: 2. 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