{"title":"Peter Klein","description":null,"products":[{"product_id":"paco228","title":"KLEIBER Strauss: Der Rosenkavalier (1954) - PACO228","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003cbr\u003eTotal duration: 3hr 16:58\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Reining\u003c\/b\u003e - Feldmarschallin\u003cbr\u003e\u003cb\u003eLudwig Weber\u003c\/b\u003e - Baron Ochs\u003cbr\u003e\u003cb\u003eSena Jurinac\u003c\/b\u003e - Octavian\u003cbr\u003e\u003cb\u003eAlfred Poell\u003c\/b\u003e - Faninal\u003cbr\u003e\u003cb\u003eHilde Gueden\u003c\/b\u003e - Sophie\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna State Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO228.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhen Richard Strauss and his librettist Hugo von Hofmannsthal created \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, they fused Viennese nostalgia with modern psychological insight. Premiered in 1911, the opera evokes the elegance of the eighteenth century while exploring universal themes of love, time, and renunciation. Its mixture of farce and melancholy, its memorable characters, and its luxuriant score quickly secured a place as Strauss’s most enduringly popular opera.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy the time Strauss composed \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e, he was already established as the leading German opera composer of his generation, famed for the audacity of \u003cem\u003eSalome\u003c\/em\u003e and \u003cem\u003eElektra\u003c\/em\u003e. With \u003cem\u003eRosenkavalier\u003c\/em\u003e he took a deliberate turn towards warmth and accessibility, blending the sophistication of Mozartian comedy with his own lush orchestration. Its success was immediate and overwhelming, securing the financial security of both composer and librettist and ensuring Strauss’s reputation not only as a modernist provocateur but also as a master of theatrical charm and human comedy.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis 1954 Decca set, recorded in the Grosser Saal of Vienna’s Musikverein, stands as a cornerstone of \u003cem\u003eRosenkavalier\u003c\/em\u003e’s recorded history. It brings together the Vienna Philharmonic, the Vienna State Opera Chorus, a truly distinguished cast, and the conductor Erich Kleiber, who was nearing the end of a long and distinguished career. He would die suddenly less than two years later, making this one of his final major projects.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKleiber was long admired as one of Strauss’s most exacting interpreters. His affinity with the composer’s idiom dated back to the 1920s, when he conducted \u003ci\u003eDer Rosenkavalier\u003c\/i\u003e, \u003ci\u003eAriadne auf Naxos\u003c\/i\u003e and \u003ci\u003eElektra \u003c\/i\u003ein the world’s leading opera houses. His approach to Strauss combined structural discipline with lyrical warmth, qualities equally evident here. The result is a performance that feels at once unsentimental and affectionate: tempos are keenly judged, textures transparent, and the flow of the score entirely natural. Rooted in Viennese tradition yet free from indulgence, it reveals both the wit and the humanity at the heart of the opera.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe cast assembled reflects Vienna’s operatic golden age in the 1950s. Maria Reining, a mainstay of the State Opera, sings the Feldmarschallin with dignity and pathos, conveying both aristocratic poise and vulnerability. Sena Jurinac is a radiant Octavian, ardent and impulsive, her warm mezzo perfectly suited to Strauss’s demanding lines. Opposite her, Hilde Gueden gives a Sophie of youthful freshness and silvery tone, creating a partnership with Jurinac that makes the presentation of the silver rose sparkle with authenticity and charm.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBaron Ochs, Strauss’s genial comic creation, is brought to life by Ludwig Weber, one of the great Viennese basses of his era. His performance is full-bodied and steeped in buffo tradition, comic without vulgarity, pompous yet genuinely human. Alfred Poell provides a solid and sympathetic Faninal, while Judith Hellwig’s Leitmetzerin adds elegance to the great ensembles.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe supporting roles are cast from strength. Hilde Rössl-Majdan and Peter Klein relish the scheming of Annina and Valzacchi; Walter Berry, still at the outset of his career, makes an imposing Police Commissioner; and Anton Dermota lends refinement to the cameo of the Italian Singer. Even the smallest roles are memorably characterised, underscoring the care with which the entire enterprise was planned.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Vienna Philharmonic responds to Kleiber with playing of distinction, capturing both the opulence of Strauss’s waltzes and the delicacy of his chamber-like writing. Strings shimmer, winds sparkle, and the horns add their customary glow. Decca’s engineering, though limited to mono, achieved a remarkable balance of warmth and clarity, preserving both the grandeur of Strauss’s climaxes and the intimacy of the conversational ensembles.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording is more than a star-studded cast album: it is a portrait of a particular Viennese style of Strauss interpretation, shaped by musicians for whom the idiom was second nature. The mixture of aristocratic refinement, youthful ardour, and deep cultural instinct makes it uniquely compelling. For Kleiber, it represents both a culmination and a farewell, summoning all his characteristic discipline and humanity in one of opera’s most bittersweet comedies.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSeven decades later, this \u003cem\u003eRosenkavalier\u003c\/em\u003e retains its special place in the catalogue. It offers not just Strauss’s masterpiece in vivid sound but also a snapshot of post-war Vienna’s operatic tradition at its finest. In this newly restored edition, listeners can savour afresh the warmth, wit, and humanity that make Kleiber’s interpretation one of the great \u003cem\u003eRosenkavaliers\u003c\/em\u003e on record.\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\u003eR. STRAUSS\u003c\/b\u003e Der Rosenkavalier\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003edisc one\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (71:37)\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 Introduction\u003cspan style=\"font-size: 12px;\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Wie du warst!\u003cspan style=\"font-size: 12px;\"\u003e (7:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Marie Theres'! - Octavian!\u003cspan style=\"font-size: 12px;\"\u003e (4:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Quinquin, es ist mein Mann!\u003cspan style=\"font-size: 12px;\"\u003e (3:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Selbstverständlich empfängt mich Ihre Gnaden\u003cspan style=\"font-size: 12px;\"\u003e (8:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Hat Sie schon einmal mit einem Kavalier\u003cspan style=\"font-size: 12px;\"\u003e (6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Nein, er agiert mir gar zu gut!\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e I komm' glei\u003cspan style=\"font-size: 12px;\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Di rigori armato il seno\u003cspan style=\"font-size: 12px;\"\u003e (2:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Als Morgengabe\u003cspan style=\"font-size: 12px;\"\u003e (3:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Mein lieber Hippolyte\u003cspan style=\"font-size: 12px;\"\u003e (3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Da geht er hin\u003cspan style=\"font-size: 12px;\"\u003e (4:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Ach! Du bist wieder da!\u003cspan style=\"font-size: 12px;\"\u003e (5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Die Zeit ist... Mein schöner Schatz... Ich werde jetzt\u003cspan style=\"font-size: 12px;\"\u003e (8:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e Ich hab' ihn nicht einmal geküßt\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\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 (60:06)\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 Introduction - Ein ernster Tag\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e In dieser feierlichen Stunde\u003cspan style=\"font-size: 12px;\"\u003e (3:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Mir ist die Ehre widerfahren\u003cspan style=\"font-size: 12px;\"\u003e (6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Ich kenn' Ihn schon recht wohl\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Jetzt aber kommt mein Herr Zukünftiger\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Eh bien! Nun plauder Sie... Wir kommen über Nacht\u003cspan style=\"font-size: 12px;\"\u003e (6:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Wird Sie das Mannsbild da heiraten\u003cspan style=\"font-size: 12px;\"\u003e (6:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Herr Baron von Lerchenau!\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Mord! Mord! Mein Blut!\u003cspan style=\"font-size: 12px;\"\u003e (2:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Herr Schwiegersohn! Wie ist ihm denn?\u003cspan style=\"font-size: 12px;\"\u003e (3:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Blamage! Mir auseinander meine Eh'\u003cspan style=\"font-size: 12px;\"\u003e (2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Is gut! Is gut! Ein Schluck\u003cspan style=\"font-size: 12px;\"\u003e (2:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Da lieg' ich!\u003cspan style=\"font-size: 12px;\"\u003e (5:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ohne mich, ohne mich, jeder Tag dir so bang\u003cspan style=\"font-size: 12px;\"\u003e (6:36)\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 (63:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eACT THREE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Introduction and Pantomime\u003cspan style=\"font-size: 12px;\"\u003e (5:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Hab'n Euer Gnaden noch weitre Befehle?\u003cspan style=\"font-size: 12px;\"\u003e (4:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Nein, nein, nein ... Die schöne Musi!\u003cspan style=\"font-size: 12px;\"\u003e (6:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Es ist ja eh all's eins\u003cspan style=\"font-size: 12px;\"\u003e (2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Da und da und da und da\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Halt! Keiner rührt sich!\u003cspan style=\"font-size: 12px;\"\u003e (3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Zur Stelle! Was wird von mir gewünscht?\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Sind desto eher im klaren\u003cspan style=\"font-size: 12px;\"\u003e (2:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e Bin glücklich über Massen\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e Laß er nur gut sein und verschwind Er\u003cspan style=\"font-size: 12px;\"\u003e (6:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e Leopold, wir gehn!\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e Mein Gott, es war nicht mehr als eine Farce\u003cspan style=\"font-size: 12px;\"\u003e (6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e Marie Theres'! - Hab mir's gelobt, Ihn lieb zu haben\u003cspan style=\"font-size: 12px;\"\u003e (4:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e Ist ein Traum, kann nicht wirklich sein - Spür nur dich\u003cspan style=\"font-size: 12px;\"\u003e (7:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMaria Reining\u003c\/b\u003e (soprano) Feldmarschallin\u003cbr\u003e\u003cb\u003eLudwig Weber\u003c\/b\u003e (bass) Baron Ochs\u003cbr\u003e\u003cb\u003eSena Jurinac\u003c\/b\u003e (soprano) Octavian\u003cbr\u003e\u003cb\u003eAlfred Poell\u003c\/b\u003e (baritone) Faninal\u003cbr\u003e\u003cb\u003eHilde Gueden\u003c\/b\u003e (soprano) Sophie\u003cbr\u003e\u003cb\u003eJudith Hellwig\u003c\/b\u003e (soprano) Leitmetzerin\u003cbr\u003e\u003cb\u003ePeter Klein\u003c\/b\u003e (tenor) Valzacchi\u003cbr\u003e\u003cb\u003eHilde Rössl-Majdan\u003c\/b\u003e (mezzo-soprano) Annina\u003cbr\u003e\u003cb\u003eWalter Berry\u003c\/b\u003e (bass-baritone) Police Commissioner\u003cbr\u003e\u003cb\u003eHarald Pröglhöf\u003c\/b\u003e (bass) Major Domo\u003cbr\u003e\u003cb\u003eAugust Jaresch\u003c\/b\u003e (tenor) Faninal’s Major Domo\u003cbr\u003e\u003cb\u003eFranz Bierbach\u003c\/b\u003e (bass) Notary\u003cbr\u003e\u003cb\u003eAnton Dermota\u003c\/b\u003e (tenor) Singer\u003cbr\u003e\u003cb\u003eBerta Seidl\u003c\/b\u003e (soprano) Milliner\u003cbr\u003e\u003cb\u003eErich Majkut\u003c\/b\u003e (tenor) Landlord \u0026amp; Animal Seller\u003cbr\u003e\u003cb\u003eVienna State Opera Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eErich Kleiber\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded 29 May-28 June, 1954\u003cbr\u003eGrosser Saal, Musikverein, Vienna\u003cbr\u003eDecca Producers: Victor Olof \u0026amp; James Walker\u003cbr\u003eEngineers: Cyril Windebank \u0026amp; Jack Law\u003cbr\u003eXR remastered in Ambient Stereo by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Erich Kleiber\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 3hr 16:58\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\/PACO228.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO228.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":54947315417422,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503926606,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503959374,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO228_7b50c0a4-f446-4554-a95b-5da566010652.jpg?v=1760370749"},{"product_id":"paco228-cd","title":"KLEIBER Strauss: Der Rosenkavalier (1954) - PACO228 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CDs (+MP3)","offer_id":60721837015374,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":60721837048142,"sku":null,"price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO228.jpg?v=1788942743"},{"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":"paco244","title":"KONWITSCHNY Wagner’s Ring: 3. Siegfried (Covent Garden, 1959) - PACO244","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eSiegfried\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eBBC radio broadcast, 28 September 1959\u003cbr\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003eTotal duration: 4hr 11:25\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eSiegfried - \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eThe Wanderer - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eMime - \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003eThe Woodbird - \u003cb\u003eJeannette Sinclair\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_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO244.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eThe hero who knew no fear\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOf the four music dramas comprising Wagner's \u003ci\u003eDer Ring des Nibelungen\u003c\/i\u003e, \u003ci\u003eSiegfried\u003c\/i\u003e is perhaps the most peculiar. After the elemental struggles of \u003ci\u003eDas Rheingold\u003c\/i\u003e and the human tragedy of \u003ci\u003eDie Walküre\u003c\/i\u003e, Wagner turns to a story that might almost be described as a fairy tale. There are dwarfs, a dragon, a mysterious traveller, a talking bird and a beautiful woman sleeping within a circle of fire. Yet beneath this apparently innocent world lies the approaching collapse of the gods, and at its centre stands a hero whose defining characteristic is not so much courage as his complete ignorance of fear.\u003c\/p\u003e\n\u003cp\u003eSiegfried has grown up in the forest, raised by the dwarf Mime, who hopes to exploit the boy's extraordinary strength to recover the treasure guarded by the dragon Fafner. Ignorant of his parentage and suspicious of his guardian, Siegfried is an uncomfortable mixture of youthful exuberance, impatience, cruelty and innocence. He has no understanding of the intrigues that have shaped his destiny, nor any knowledge of the laws and obligations that govern the world around him. In this he is both the fulfilment of Wotan's hopes and a threat to everything the god has created.\u003c\/p\u003e\n\u003cp\u003eThe opening act establishes a remarkably different dramatic atmosphere from the preceding operas. Much of it is dominated by the exchanges between Siegfried and Mime, whose increasingly desperate attempts to manipulate his foster-son introduce an element of grotesque comedy. Mime's scheming is matched by Siegfried's exuberant contempt, and Wagner finds extraordinary musical variety in their confrontations. The forging of the shattered sword Nothung provides the act's exhilarating climax: a great display of youthful energy, with Siegfried literally hammering his inheritance into a weapon capable of destroying the old order.\u003c\/p\u003e\n\u003cp\u003eBehind this seemingly domestic struggle stands Wotan, now travelling anonymously as the Wanderer. His riddling encounter with Mime is one of Wagner's most ingenious dramatic constructions. The god already knows the answers to the questions he asks, yet has lost the ability to direct events towards the outcome he desires. Knowledge and power have become separated. The Wanderer possesses the former in abundance, while the unknowing Siegfried increasingly embodies the latter.\u003c\/p\u003e\n\u003cp\u003eAct II moves the action into the forest, where Wagner creates one of his most evocative orchestral landscapes. The famous Forest Murmurs offer a moment of extraordinary repose amid the plotting and violence. Siegfried, who has never known his mother, listens to the sounds of nature and wonders about his origins. The music seems briefly to suspend the immense machinery of the \u003ci\u003eRing\u003c\/i\u003e, allowing its hero an intimacy and vulnerability that his noisy behaviour has previously concealed.\u003c\/p\u003e\n\u003cp\u003eThe encounter with Fafner is almost brutally straightforward. Siegfried slays the dragon without grasping the significance of his victory, and through tasting its blood acquires the ability to understand the Woodbird. He gains possession of the Ring and the Tarnhelm without appreciating their terrible history. The irony is characteristic of Wagner's conception: the innocent hero achieves effortlessly what generations of gods and dwarfs have pursued through deception, violence and the surrender of love.\u003c\/p\u003e\n\u003cp\u003eThe opera's unusual character is partly explained by its remarkable history of composition. Wagner completed the music of the first two acts in 1857 before abandoning the \u003ci\u003eRing\u003c\/i\u003e for twelve years. During that interval he composed \u003ci\u003eTristan und Isolde\u003c\/i\u003e and \u003ci\u003eDie Meistersinger von Nürnberg\u003c\/i\u003e, works that transformed his command of harmony, orchestral colour and dramatic expression. When he returned to \u003ci\u003eSiegfried\u003c\/i\u003e in 1869, he was a considerably different composer. The third act, completed in score in 1871, carries the accumulated experience of those intervening masterpieces.\u003c\/p\u003e\n\u003cp\u003eThat development becomes apparent as the Wanderer summons Erda and finally confronts Siegfried. The breaking of Wotan's spear is among the most decisive moments in the entire cycle. The weapon upon which the god's authority depends is shattered by the sword he once hoped would redeem his world. Wotan's power is finished, not through direct rebellion or calculated revenge, but through the actions of someone who scarcely understands what he has accomplished.\u003c\/p\u003e\n\u003cp\u003eThe awakening of Brünnhilde then carries the drama into a new emotional world. For the first time Siegfried confronts something that genuinely disturbs him: the mysterious figure of a sleeping woman, whose discovery awakens feelings entirely outside his experience. Brünnhilde, meanwhile, must relinquish her divine existence and confront the uncertainties of human love. Their great concluding duet celebrates a seemingly triumphant union, but its radiance is shadowed by the knowledge that this happiness cannot endure.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSiegfried\u003c\/i\u003e thus stands at the centre of Wagner's extraordinary dramatic paradox. Its hero has overcome the dragon, destroyed the spear of a god and awakened a sleeping goddess, yet understands almost nothing of the forces he has unleashed. His innocence is both his greatest strength and his fatal weakness. The world of the \u003ci\u003eRing\u003c\/i\u003e has acquired a new master, but whether he possesses the wisdom to govern it is another question altogether.\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eKonwitschny's \u003ci\u003eSiegfried\u003c\/i\u003e at Covent Garden, 1959\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOn 28 September 1959, the Royal Opera House, Covent Garden presented \u003ci\u003eSiegfried\u003c\/i\u003e as the third instalment of its autumn \u003ci\u003eRing\u003c\/i\u003e cycle, under the direction of Franz Konwitschny. The performance brought together an exceptional company of Wagner singers, several of whom were closely associated with the post-war Bayreuth Festival. The production itself was not new. First staged in 1954 under Rudolf Hartmann, with designs by Leslie Hurry, it belonged to an established Covent Garden tradition that was already attracting criticism for its increasingly antiquated theatrical conventions. Musically, however, it offered London audiences something remarkable.\u003c\/p\u003e\n\u003cp\u003eAt the centre stood Wolfgang Windgassen, whose interpretation of Siegfried had become one of the defining achievements of his career. Windgassen was never a heroic tenor in the crudely monumental sense. His particular gifts lay in his flexibility, verbal intelligence and ability to suggest youthful spontaneity without sacrificing the musical line. His Siegfried could be impulsive, impatient and occasionally disarmingly casual, qualities that suited a character whose strength is matched by his ignorance of the world. Writing in \u003ci\u003eThe Spectator\u003c\/i\u003e on 16 October, David Cairns acknowledged this apparent lack of solemnity while nevertheless calling Windgassen \"the best Siegfried we have\".\u003c\/p\u003e\n\u003cp\u003eHans Hotter's Wanderer provides an extraordinary counterweight. Having dominated the earlier dramas as Wotan, Hotter now presents a figure whose authority is increasingly undermined by the consequences of his own actions. His great strength was always his ability to make Wagner's text speak with philosophical and emotional significance. The Wanderer's riddling exchanges with Mime, his confrontation with Alberich and his final encounter with Siegfried demand precisely that combination of commanding presence and inward resignation. For contemporary critics, Hotter remained one of the indisputable glories of the Covent Garden cycle.\u003c\/p\u003e\n\u003cp\u003ePeter Klein's Mime is another essential element in this drama of contrasting personalities. The role calls for more than the familiar caricature of a whining, malicious dwarf. Mime must be plausible both as a cunning manipulator and as a creature utterly overwhelmed by the forces he hopes to control. His exchanges with Windgassen bring much of the first act's dramatic character into focus. Otakar Kraus, returning as Alberich, supplies a different kind of menace: more concentrated and openly driven by resentment. Their scenes reveal two contrasting expressions of the same destructive ambition.\u003c\/p\u003e\n\u003cp\u003eThe remaining cast brings further distinction. Michael Langdon returns as Fafner, transformed from the giant of \u003ci\u003eDas Rheingold\u003c\/i\u003e into the dragon guarding the Nibelung treasure. Marga Höffgen provides Erda's sombre prophetic voice, while Jeannette Sinclair sings the Woodbird, whose apparently innocent interventions determine the course of Siegfried's journey. For the concluding scene, Astrid Varnay returns as Brünnhilde, bringing the vocal authority and dramatic intensity that had made her one of the foremost Wagner sopranos of her generation.\u003c\/p\u003e\n\u003cp\u003eKonwitschny's conducting was the subject of sharply divided contemporary opinion. Succeeding Rudolf Kempe, whose performances had been admired for their architectural discipline, he brought a more forceful and sometimes less predictable theatrical temperament. Critics recognised the impact of his powerful bass sonorities and emphatic climaxes, but some questioned his control of longer musical structures. Cairns was particularly severe about passages he considered ponderous or insufficiently balanced. Such reservations deserve acknowledgement, although they reflect a particular critical perspective rather than a settled judgement upon the performance.\u003c\/p\u003e\n\u003cp\u003eThe production itself came under still fiercer attack. Cairns complained that the staging lacked coherence, singling out the forging scene for its unconvincing physical realism. There is an interesting historical irony here. At a time when Wieland Wagner's revolutionary Bayreuth productions were transforming expectations of Wagnerian theatre, Covent Garden was still relying upon a production conceived in substantially more traditional terms. Yet the inadequacies of the visual presentation did not prevent the singers from creating performances that retained their dramatic authority, and the BBC microphones preserved what the audience heard rather than what it saw.\u003c\/p\u003e\n\u003cp\u003eThat distinction gives this recording much of its enduring value. The surviving BBC broadcast offers a convincing impression of voices and orchestra sharing a theatrical space, with a natural relationship between stage and pit and a welcome clarity of orchestral detail. The Orchestra of the Royal Opera House, led by Charles Taylor, was participating in a substantial Wagnerian undertaking, not assembling isolated performances for the recording studio. The sound retains the presence and immediacy of an actual operatic occasion, qualities central to Pristine's approach to restoring these historic broadcasts.\u003c\/p\u003e\n\u003cp\u003eWhat survives, therefore, is not a hypothetical ideal of Wagner performance, polished beyond recognition, but the work of a distinguished company meeting the demands of one of the repertory's most formidable operas. Windgassen, Hotter, Klein, Kraus and Varnay represent a Wagnerian tradition in which character, language and dramatic conviction remained inseparable from vocal achievement. Whatever the contemporary reservations about the production or its conductor, this \u003ci\u003eSiegfried\u003c\/i\u003e preserves a remarkable evening in the history of Covent Garden and an invaluable document of Wagner interpretation in the late 1950s.\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 \u003ci\u003eSiegfried\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(59:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Zwangvolle Plage! Müh ohne Zweck! \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Hoiho! Hoiho! Hau ein! Hau ein! \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Da hast du die Stücken, schändlicher Stümper \u003cspan style=\"font-size: 12px;\"\u003e(2:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Als zullendes Kind zog ich dich auf \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Vieles lehrtest du, Mime \u003cspan style=\"font-size: 12px;\"\u003e(8:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Einst lag wimmernd ein Weib \u003cspan style=\"font-size: 12px;\"\u003e(6:01)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Und diese Stücken sollst du mir schmieden \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Da stürmt er hin! \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Heil dir, weiser Schmied! \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Hier sitz' ich am Herd und setze mein Haupt \u003cspan style=\"font-size: 12px;\"\u003e(11:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Was zu wissen dir frommt, solltest du fragen \u003cspan style=\"font-size: 12px;\"\u003e(7:57)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Die Stücken! Das Schwert! O weh! Mir schwindelt! \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(70:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Verfluchtes Licht! \u003cspan style=\"font-size: 12px;\"\u003e(1:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Heda! Du Fauler! \u003cspan style=\"font-size: 12px;\"\u003e(0:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Bist du es, Kind? \u003cspan style=\"font-size: 12px;\"\u003e(2:57)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Fühltest du nie im finstren Wald \u003cspan style=\"font-size: 12px;\"\u003e(5:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Her mit den Stücken, fort mit dem Stümper! \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Nothung! Nothung! Neidliches Schwert! \u003cspan style=\"font-size: 12px;\"\u003e(8:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Hoho! Hoho! Hahei! \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Den der Bruder schuf \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(5:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e In Wald und Nacht \u003cspan style=\"font-size: 12px;\"\u003e(2:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Zur Neidhöhle fuhr ich bei Nacht \u003cspan style=\"font-size: 12px;\"\u003e(7:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Mit mir nicht, hadre mit Mime \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Fafner! Fafner! Erwache, Wurm! \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Nun, Alberich, das schlug fehl \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Wir sind zur Stelle! \u003cspan style=\"font-size: 12px;\"\u003e(6:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e Daß der mein Vater nicht ist \u003cspan style=\"font-size: 12px;\"\u003e(1:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Aber wie sah meine Mutter wohl aus? \u003cspan style=\"font-size: 12px;\"\u003e(2:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Meine Mutter, ein Menschenweib! \u003cspan style=\"font-size: 12px;\"\u003e(5:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 3\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(50:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Haha! Da hätte mein Lied \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Wer bist du, kühner Knabe, der das Herz mir traf? \u003cspan style=\"font-size: 12px;\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Zur Kunde taugt kein Toter \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Wohin schleichst du eilig und schlau \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Was ihr mir nützt, weiß ich nicht \u003cspan style=\"font-size: 12px;\"\u003e(2:36)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Willkommen, Siegfried! \u003cspan style=\"font-size: 12px;\"\u003e(8:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Da lieg auch du, dunkler Wurm! \u003cspan style=\"font-size: 12px;\"\u003e(9:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Wache, Wala! Wala! Erwach! \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Stark ruft das Lied \u003cspan style=\"font-size: 12px;\"\u003e(11:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 4\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(70:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Dir Unweisen ruf' ich ins Ohr \u003cspan style=\"font-size: 12px;\"\u003e(5:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Wohin, Knabe, heißt dich dein Weg? \u003cspan style=\"font-size: 12px;\"\u003e(5:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Kenntest du mich, kühner Spross \u003cspan style=\"font-size: 12px;\"\u003e(5:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Mit zerfochtner Waffe wich mir der Feige? \u003cspan style=\"font-size: 12px;\"\u003e(4:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Selige Öde auf sonniger Höh'! \u003cspan style=\"font-size: 12px;\"\u003e(6:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Das ist kein Mann! \u003cspan style=\"font-size: 12px;\"\u003e(8:17)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Heil dir, Sonne! Heil dir, Licht! \u003cspan style=\"font-size: 12px;\"\u003e(5:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e O Siegfried! Siegfried! Seliger Held! \u003cspan style=\"font-size: 12px;\"\u003e(6:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Dort seh' ich Grane \u003cspan style=\"font-size: 12px;\"\u003e(8:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Ewig war ich, ewig bin ich \u003cspan style=\"font-size: 12px;\"\u003e(13:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003eSiegfried - \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eMime - \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003eThe Wanderer - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003eThe Woodbird - \u003cb\u003eJeannette Sinclair\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\u003e\u003cspan style=\"font-size: 14px;\"\u003eLeader: Charles Taylor\u003c\/span\u003e\u003cbr\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBBC radio broadcast\u003cbr\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003e28 September 1959\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Franz Konwitschny\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCD edition: four discs in two 2-CD packages.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 4hr 11:25\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\/PACO244.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO244.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":61380137091406,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":61380137156942,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":61380137189710,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO244_33f2ac34-c4f0-4db1-bce1-b873524da503.jpg?v=1793034168"},{"product_id":"paco244-cd","title":"KONWITSCHNY Wagner’s Ring: 3. Siegfried (Covent Garden, 1959) - PACO244 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e \u003ci\u003eSiegfried\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eBBC radio broadcast, 28 September 1959\u003cbr\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003eTotal duration: 4hr 11:25\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eSiegfried - \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eThe Wanderer - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eMime - \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003eThe Woodbird - \u003cb\u003eJeannette Sinclair\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_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO244.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eThe hero who knew no fear\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOf the four music dramas comprising Wagner's \u003ci\u003eDer Ring des Nibelungen\u003c\/i\u003e, \u003ci\u003eSiegfried\u003c\/i\u003e is perhaps the most peculiar. After the elemental struggles of \u003ci\u003eDas Rheingold\u003c\/i\u003e and the human tragedy of \u003ci\u003eDie Walküre\u003c\/i\u003e, Wagner turns to a story that might almost be described as a fairy tale. There are dwarfs, a dragon, a mysterious traveller, a talking bird and a beautiful woman sleeping within a circle of fire. Yet beneath this apparently innocent world lies the approaching collapse of the gods, and at its centre stands a hero whose defining characteristic is not so much courage as his complete ignorance of fear.\u003c\/p\u003e\n\u003cp\u003eSiegfried has grown up in the forest, raised by the dwarf Mime, who hopes to exploit the boy's extraordinary strength to recover the treasure guarded by the dragon Fafner. Ignorant of his parentage and suspicious of his guardian, Siegfried is an uncomfortable mixture of youthful exuberance, impatience, cruelty and innocence. He has no understanding of the intrigues that have shaped his destiny, nor any knowledge of the laws and obligations that govern the world around him. In this he is both the fulfilment of Wotan's hopes and a threat to everything the god has created.\u003c\/p\u003e\n\u003cp\u003eThe opening act establishes a remarkably different dramatic atmosphere from the preceding operas. Much of it is dominated by the exchanges between Siegfried and Mime, whose increasingly desperate attempts to manipulate his foster-son introduce an element of grotesque comedy. Mime's scheming is matched by Siegfried's exuberant contempt, and Wagner finds extraordinary musical variety in their confrontations. The forging of the shattered sword Nothung provides the act's exhilarating climax: a great display of youthful energy, with Siegfried literally hammering his inheritance into a weapon capable of destroying the old order.\u003c\/p\u003e\n\u003cp\u003eBehind this seemingly domestic struggle stands Wotan, now travelling anonymously as the Wanderer. His riddling encounter with Mime is one of Wagner's most ingenious dramatic constructions. The god already knows the answers to the questions he asks, yet has lost the ability to direct events towards the outcome he desires. Knowledge and power have become separated. The Wanderer possesses the former in abundance, while the unknowing Siegfried increasingly embodies the latter.\u003c\/p\u003e\n\u003cp\u003eAct II moves the action into the forest, where Wagner creates one of his most evocative orchestral landscapes. The famous Forest Murmurs offer a moment of extraordinary repose amid the plotting and violence. Siegfried, who has never known his mother, listens to the sounds of nature and wonders about his origins. The music seems briefly to suspend the immense machinery of the \u003ci\u003eRing\u003c\/i\u003e, allowing its hero an intimacy and vulnerability that his noisy behaviour has previously concealed.\u003c\/p\u003e\n\u003cp\u003eThe encounter with Fafner is almost brutally straightforward. Siegfried slays the dragon without grasping the significance of his victory, and through tasting its blood acquires the ability to understand the Woodbird. He gains possession of the Ring and the Tarnhelm without appreciating their terrible history. The irony is characteristic of Wagner's conception: the innocent hero achieves effortlessly what generations of gods and dwarfs have pursued through deception, violence and the surrender of love.\u003c\/p\u003e\n\u003cp\u003eThe opera's unusual character is partly explained by its remarkable history of composition. Wagner completed the music of the first two acts in 1857 before abandoning the \u003ci\u003eRing\u003c\/i\u003e for twelve years. During that interval he composed \u003ci\u003eTristan und Isolde\u003c\/i\u003e and \u003ci\u003eDie Meistersinger von Nürnberg\u003c\/i\u003e, works that transformed his command of harmony, orchestral colour and dramatic expression. When he returned to \u003ci\u003eSiegfried\u003c\/i\u003e in 1869, he was a considerably different composer. The third act, completed in score in 1871, carries the accumulated experience of those intervening masterpieces.\u003c\/p\u003e\n\u003cp\u003eThat development becomes apparent as the Wanderer summons Erda and finally confronts Siegfried. The breaking of Wotan's spear is among the most decisive moments in the entire cycle. The weapon upon which the god's authority depends is shattered by the sword he once hoped would redeem his world. Wotan's power is finished, not through direct rebellion or calculated revenge, but through the actions of someone who scarcely understands what he has accomplished.\u003c\/p\u003e\n\u003cp\u003eThe awakening of Brünnhilde then carries the drama into a new emotional world. For the first time Siegfried confronts something that genuinely disturbs him: the mysterious figure of a sleeping woman, whose discovery awakens feelings entirely outside his experience. Brünnhilde, meanwhile, must relinquish her divine existence and confront the uncertainties of human love. Their great concluding duet celebrates a seemingly triumphant union, but its radiance is shadowed by the knowledge that this happiness cannot endure.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSiegfried\u003c\/i\u003e thus stands at the centre of Wagner's extraordinary dramatic paradox. Its hero has overcome the dragon, destroyed the spear of a god and awakened a sleeping goddess, yet understands almost nothing of the forces he has unleashed. His innocence is both his greatest strength and his fatal weakness. The world of the \u003ci\u003eRing\u003c\/i\u003e has acquired a new master, but whether he possesses the wisdom to govern it is another question altogether.\u003c\/p\u003e\n\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eKonwitschny's \u003ci\u003eSiegfried\u003c\/i\u003e at Covent Garden, 1959\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOn 28 September 1959, the Royal Opera House, Covent Garden presented \u003ci\u003eSiegfried\u003c\/i\u003e as the third instalment of its autumn \u003ci\u003eRing\u003c\/i\u003e cycle, under the direction of Franz Konwitschny. The performance brought together an exceptional company of Wagner singers, several of whom were closely associated with the post-war Bayreuth Festival. The production itself was not new. First staged in 1954 under Rudolf Hartmann, with designs by Leslie Hurry, it belonged to an established Covent Garden tradition that was already attracting criticism for its increasingly antiquated theatrical conventions. Musically, however, it offered London audiences something remarkable.\u003c\/p\u003e\n\u003cp\u003eAt the centre stood Wolfgang Windgassen, whose interpretation of Siegfried had become one of the defining achievements of his career. Windgassen was never a heroic tenor in the crudely monumental sense. His particular gifts lay in his flexibility, verbal intelligence and ability to suggest youthful spontaneity without sacrificing the musical line. His Siegfried could be impulsive, impatient and occasionally disarmingly casual, qualities that suited a character whose strength is matched by his ignorance of the world. Writing in \u003ci\u003eThe Spectator\u003c\/i\u003e on 16 October, David Cairns acknowledged this apparent lack of solemnity while nevertheless calling Windgassen \"the best Siegfried we have\".\u003c\/p\u003e\n\u003cp\u003eHans Hotter's Wanderer provides an extraordinary counterweight. Having dominated the earlier dramas as Wotan, Hotter now presents a figure whose authority is increasingly undermined by the consequences of his own actions. His great strength was always his ability to make Wagner's text speak with philosophical and emotional significance. The Wanderer's riddling exchanges with Mime, his confrontation with Alberich and his final encounter with Siegfried demand precisely that combination of commanding presence and inward resignation. For contemporary critics, Hotter remained one of the indisputable glories of the Covent Garden cycle.\u003c\/p\u003e\n\u003cp\u003ePeter Klein's Mime is another essential element in this drama of contrasting personalities. The role calls for more than the familiar caricature of a whining, malicious dwarf. Mime must be plausible both as a cunning manipulator and as a creature utterly overwhelmed by the forces he hopes to control. His exchanges with Windgassen bring much of the first act's dramatic character into focus. Otakar Kraus, returning as Alberich, supplies a different kind of menace: more concentrated and openly driven by resentment. Their scenes reveal two contrasting expressions of the same destructive ambition.\u003c\/p\u003e\n\u003cp\u003eThe remaining cast brings further distinction. Michael Langdon returns as Fafner, transformed from the giant of \u003ci\u003eDas Rheingold\u003c\/i\u003e into the dragon guarding the Nibelung treasure. Marga Höffgen provides Erda's sombre prophetic voice, while Jeannette Sinclair sings the Woodbird, whose apparently innocent interventions determine the course of Siegfried's journey. For the concluding scene, Astrid Varnay returns as Brünnhilde, bringing the vocal authority and dramatic intensity that had made her one of the foremost Wagner sopranos of her generation.\u003c\/p\u003e\n\u003cp\u003eKonwitschny's conducting was the subject of sharply divided contemporary opinion. Succeeding Rudolf Kempe, whose performances had been admired for their architectural discipline, he brought a more forceful and sometimes less predictable theatrical temperament. Critics recognised the impact of his powerful bass sonorities and emphatic climaxes, but some questioned his control of longer musical structures. Cairns was particularly severe about passages he considered ponderous or insufficiently balanced. Such reservations deserve acknowledgement, although they reflect a particular critical perspective rather than a settled judgement upon the performance.\u003c\/p\u003e\n\u003cp\u003eThe production itself came under still fiercer attack. Cairns complained that the staging lacked coherence, singling out the forging scene for its unconvincing physical realism. There is an interesting historical irony here. At a time when Wieland Wagner's revolutionary Bayreuth productions were transforming expectations of Wagnerian theatre, Covent Garden was still relying upon a production conceived in substantially more traditional terms. Yet the inadequacies of the visual presentation did not prevent the singers from creating performances that retained their dramatic authority, and the BBC microphones preserved what the audience heard rather than what it saw.\u003c\/p\u003e\n\u003cp\u003eThat distinction gives this recording much of its enduring value. The surviving BBC broadcast offers a convincing impression of voices and orchestra sharing a theatrical space, with a natural relationship between stage and pit and a welcome clarity of orchestral detail. The Orchestra of the Royal Opera House, led by Charles Taylor, was participating in a substantial Wagnerian undertaking, not assembling isolated performances for the recording studio. The sound retains the presence and immediacy of an actual operatic occasion, qualities central to Pristine's approach to restoring these historic broadcasts.\u003c\/p\u003e\n\u003cp\u003eWhat survives, therefore, is not a hypothetical ideal of Wagner performance, polished beyond recognition, but the work of a distinguished company meeting the demands of one of the repertory's most formidable operas. Windgassen, Hotter, Klein, Kraus and Varnay represent a Wagnerian tradition in which character, language and dramatic conviction remained inseparable from vocal achievement. Whatever the contemporary reservations about the production or its conductor, this \u003ci\u003eSiegfried\u003c\/i\u003e preserves a remarkable evening in the history of Covent Garden and an invaluable document of Wagner interpretation in the late 1950s.\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 \u003ci\u003eSiegfried\u003c\/i\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(59:36)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(4:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Zwangvolle Plage! Müh ohne Zweck! \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Hoiho! Hoiho! Hau ein! Hau ein! \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Da hast du die Stücken, schändlicher Stümper \u003cspan style=\"font-size: 12px;\"\u003e(2:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Als zullendes Kind zog ich dich auf \u003cspan style=\"font-size: 12px;\"\u003e(1:38)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Vieles lehrtest du, Mime \u003cspan style=\"font-size: 12px;\"\u003e(8:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Einst lag wimmernd ein Weib \u003cspan style=\"font-size: 12px;\"\u003e(6:01)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Und diese Stücken sollst du mir schmieden \u003cspan style=\"font-size: 12px;\"\u003e(1:32)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Da stürmt er hin! \u003cspan style=\"font-size: 12px;\"\u003e(1:51)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Heil dir, weiser Schmied! \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Hier sitz' ich am Herd und setze mein Haupt \u003cspan style=\"font-size: 12px;\"\u003e(11:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Was zu wissen dir frommt, solltest du fragen \u003cspan style=\"font-size: 12px;\"\u003e(7:57)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Die Stücken! Das Schwert! O weh! Mir schwindelt! \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(70:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT I, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Verfluchtes Licht! \u003cspan style=\"font-size: 12px;\"\u003e(1:06)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Heda! Du Fauler! \u003cspan style=\"font-size: 12px;\"\u003e(0:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Bist du es, Kind? \u003cspan style=\"font-size: 12px;\"\u003e(2:57)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Fühltest du nie im finstren Wald \u003cspan style=\"font-size: 12px;\"\u003e(5:37)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Her mit den Stücken, fort mit dem Stümper! \u003cspan style=\"font-size: 12px;\"\u003e(3:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Nothung! Nothung! Neidliches Schwert! \u003cspan style=\"font-size: 12px;\"\u003e(8:24)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Hoho! Hoho! Hahei! \u003cspan style=\"font-size: 12px;\"\u003e(3:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Den der Bruder schuf \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(5:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e In Wald und Nacht \u003cspan style=\"font-size: 12px;\"\u003e(2:43)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e Zur Neidhöhle fuhr ich bei Nacht \u003cspan style=\"font-size: 12px;\"\u003e(7:18)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e Mit mir nicht, hadre mit Mime \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e Fafner! Fafner! Erwache, Wurm! \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e Nun, Alberich, das schlug fehl \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e Wir sind zur Stelle! \u003cspan style=\"font-size: 12px;\"\u003e(6:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e Daß der mein Vater nicht ist \u003cspan style=\"font-size: 12px;\"\u003e(1:35)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e Aber wie sah meine Mutter wohl aus? \u003cspan style=\"font-size: 12px;\"\u003e(2:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e Meine Mutter, ein Menschenweib! \u003cspan style=\"font-size: 12px;\"\u003e(5:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 3\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(50:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Haha! Da hätte mein Lied \u003cspan style=\"font-size: 12px;\"\u003e(5:13)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Wer bist du, kühner Knabe, der das Herz mir traf? \u003cspan style=\"font-size: 12px;\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Zur Kunde taugt kein Toter \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT II, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Wohin schleichst du eilig und schlau \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Was ihr mir nützt, weiß ich nicht \u003cspan style=\"font-size: 12px;\"\u003e(2:36)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Willkommen, Siegfried! \u003cspan style=\"font-size: 12px;\"\u003e(8:30)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Da lieg auch du, dunkler Wurm! \u003cspan style=\"font-size: 12px;\"\u003e(9:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e Prelude \u003cspan style=\"font-size: 12px;\"\u003e(2:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Wache, Wala! Wala! Erwach! \u003cspan style=\"font-size: 12px;\"\u003e(2:02)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Stark ruft das Lied \u003cspan style=\"font-size: 12px;\"\u003e(11:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 4\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(70:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e Dir Unweisen ruf' ich ins Ohr \u003cspan style=\"font-size: 12px;\"\u003e(5:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e Wohin, Knabe, heißt dich dein Weg? \u003cspan style=\"font-size: 12px;\"\u003e(5:53)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e Kenntest du mich, kühner Spross \u003cspan style=\"font-size: 12px;\"\u003e(5:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e Mit zerfochtner Waffe wich mir der Feige? \u003cspan style=\"font-size: 12px;\"\u003e(4:49)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eACT III, SCENE 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e Selige Öde auf sonniger Höh'! \u003cspan style=\"font-size: 12px;\"\u003e(6:29)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e Das ist kein Mann! \u003cspan style=\"font-size: 12px;\"\u003e(8:17)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e Heil dir, Sonne! Heil dir, Licht! \u003cspan style=\"font-size: 12px;\"\u003e(5:41)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e O Siegfried! Siegfried! Seliger Held! \u003cspan style=\"font-size: 12px;\"\u003e(6:58)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e Dort seh' ich Grane \u003cspan style=\"font-size: 12px;\"\u003e(8:07)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e Ewig war ich, ewig bin ich \u003cspan style=\"font-size: 12px;\"\u003e(13:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003eSiegfried - \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eMime - \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003eThe Wanderer - \u003cb\u003eHans Hotter\u003c\/b\u003e\u003cbr\u003eAlberich - \u003cb\u003eOtakar Kraus\u003c\/b\u003e\u003cbr\u003eFafner - \u003cb\u003eMichael Langdon\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eAstrid Varnay\u003c\/b\u003e\u003cbr\u003eErda - \u003cb\u003eMarga Höffgen\u003c\/b\u003e\u003cbr\u003eThe Woodbird - \u003cb\u003eJeannette Sinclair\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\u003e\u003cspan style=\"font-size: 14px;\"\u003eLeader: Charles Taylor\u003c\/span\u003e\u003cbr\u003econducted by \u003cb\u003eFranz Konwitschny\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eBBC radio broadcast\u003cbr\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003e28 September 1959\u003cbr\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Franz Konwitschny\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCD edition: four discs in two 2-CD packages.\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 4hr 11:25\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\/PACO244.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO244.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"4 CDs with case \u0026 artwork (+MP3)","offer_id":61380137320782,"sku":null,"price":65.0,"currency_code":"EUR","in_stock":true},{"title":"4 CDs only in plastic sleeve (+MP3)","offer_id":61380137386318,"sku":null,"price":50.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO244_48a963d4-ad0f-48ad-b351-2b9305787340.jpg?v=1793034221"}],"url":"https:\/\/www.pristineclassical.com\/collections\/artist-peter-klein.oembed","provider":"Pristine Classical","version":"1.0","type":"link"}