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WAGNER, Kirsten Flagstad, Wilhelm Furtwangler

Die Walkure / Act 3 /

1 Hojotoho! Hojotoho! (Walküren) 2:17 2 Zu Ortlindes Stute stell deinen Hengst: (Walküren) 5:00 3 Schützt mich und helft in höchser Not! (Brünnhilde, Walküren) 3:03 4 Nicht sehre dich Sorge um mich: (Sieglinde, Brünnhilde, Walküren) 4:01 5 O hehrstes Wunder! Herrliche Maid! (Sieglinde, Brünnhilde, Walküren) 1:38 6 Wo ist Brünnhild, (Wotan, Walküren) 3:49 7 Hier bin ich, Vater: (Brünnhilde, Wotan, Walküren) 4:36 8 Hörtet ihr nicht, was ich verhängt? (Wotan, Walküren) 4:04 9 War es so schmählich, (Brünnhilde, Wotan) 3:29 10 Nicht weise bin ich, (Brünnhilde, Wotan) 4:47 11 So tatest du, was so gern (Wotan, Brünnhilde) 3:25 12 Wohl taugte dir nicht die törge Maid, (Brünnhilde, Wotan) 3:34 13 Nicht streb, o Maid, (Brünnhilde, Wotan) 3:38 14 Leb sohl, du kühnes, herrliches Kind (Wotan) 4:35 15 Der Augen leuchtendes Paar (Wotan) 6:19 16 Loge, hör! Lausche hieher! (Wotan) 4:43 17 "Das Rheingold": Abendlich strahlt der Sonne Auge 3:43 18 "Tannhäuser": Blick ich umher in diesem edlem Kreis 4:23 19 "Die Meistersinger von Nürnberg": Verachtet mir die Meister nicht 4:30
  • Kirsten Flagstad - soprano
  • Wilhelm Furtwangler - conductor

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"Wilhelm Richard Wagner (pron.: /ˈvɑːɡnər/; German: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor primarily known for his operas (or, as some of his later works were later known, "music dramas"). His compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music; his Tristan und Isolde is sometimes described as marking the start of modern music. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama, and which was announced in a series of essays between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung). He had his own opera house built, the Bayreuth Festspielhaus, which contained many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed in an annual festival run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg). Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment in recent decades, especially where they express antisemitic sentiments. The effect of Wagner's ideas can be traced in many of the arts throughout the 20th century; their influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre."