WAGNER Siegfried Boulez DVD-VIDEO

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RICHARD WAGNER

Siegfried
Manfred Jung · Donald McIntyre · Gwyneth Jones
Heinz Zednik · Hermann Becht · Fritz Hübner
Orchester der Bayreuther Festspiele
Pierre Boulez
Production: Patrice Chéreau
Int. Release 09 Jun. 2005
2 DVD-Videos
2 DVD-VIDEO NTSC 0440 073 4062 2 GH 2
STEREO: PCM / SURROUND: DTS 5.1 · Picture Format: 4:3
Subtitles: German/English/French/Spanish/Chinese
A production of UNITEL, Munich
The legendary centennial Ring! Pierre Boulez and Patrice Chéreau with their breathtaking reading of Wagner's gargantuan masterpiece


Track List

DVD 1: Wagner: Siegfried

Richard Wagner (1813 - 1883)
Siegfried

1.
1:00

Unknown

Erster Aufzug

2.
3:27

Orchester der Bayreuther Festspiele, Pierre Boulez

Heinz Zednik, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Manfred Jung, Heinz Zednik, Orchester der Bayreuther Festspiele, Pierre Boulez

Donald McIntyre, Heinz Zednik, Orchester der Bayreuther Festspiele, Pierre Boulez

Heinz Zednik, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Manfred Jung, Heinz Zednik, Orchester der Bayreuther Festspiele, Pierre Boulez

Zweiter Aufzug

10.
6:08

Orchester der Bayreuther Festspiele, Pierre Boulez

11.
11:24

Hermann Becht, Donald McIntyre, Orchester der Bayreuther Festspiele, Pierre Boulez

Donald McIntyre, Fritz Hübner, Hermann Becht, Orchester der Bayreuther Festspiele, Pierre Boulez

Heinz Zednik, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

15.
6:05

Orchester der Bayreuther Festspiele, Pierre Boulez

Fritz Hübner, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Hermann Becht, Heinz Zednik, Manfred Jung, Norma Sharp, Orchester der Bayreuther Festspiele, Pierre Boulez

Heinz Zednik, Manfred Jung, Hermann Becht, Orchester der Bayreuther Festspiele, Pierre Boulez

Manfred Jung, Norma Sharp, Orchester der Bayreuther Festspiele, Pierre Boulez

Total Playing Time 2:31:20

DVD 2: Wagner: Siegfried

Richard Wagner (1813 - 1883)
Siegfried

Dritter Aufzug

Donald McIntyre, Orchester der Bayreuther Festspiele, Pierre Boulez

Ortrun Wenkel, Donald McIntyre, Orchester der Bayreuther Festspiele, Pierre Boulez

Donald McIntyre, Orchester der Bayreuther Festspiele, Pierre Boulez

Donald McIntyre, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Gwyneth Jones, Manfred Jung, Orchester der Bayreuther Festspiele, Pierre Boulez

Total Playing Time 1:16:19

Large's filming is totally connected to the music and acutely responsive to nuances of character . . . the cast was able to develop a degree of naturalistic acting rare for any opera telecast and surely unique in televised Wagner . . . The gain . . . is that the emphasis on intimacy throughout this "Ring" creates genuine conversations (intelligibility, by the way, is extraordinarily high) . . .

[Die Walküre:] The orchestra's technical expertise continues impressively in Act 2 and there are wonderful details, especially in the second scene (including a surpassingly lovely reprise of the 'Spring' motif). Act 3's pacing is almost unfailingly riveting . . .

[Siegfried:] The First Act's formidable technical challenges, particularly the more scampering portions of the Siegfried-Mime exchanges, are finely executed by Boulez and the orchestra . . .

[Götterdämmerung:] Through more than four hours of music, Boulez seldom loses his dramatic momentum. Even the Norns' scene, so often lugubrious, boasts a welcome tension and variety of colour . . .

[The documentary:] DG's brilliant recorded sound is hard to beat . . . the production speaks for itself.

Chéreau's approach excels in bringing out the human side of the characters in Wagner's great epic: it's hard to imagine Siegmund and Sieglinde's love being more movingly portrayed, and Donald McIntyre memorably conveys the terrible, self-induced dilemmas with which wotan has to grapple. McIntyre is very fine musically too; Gwyneth Jones's spirited Brünnhilde is also outstanding, and Peter Hofmann and Jeanine Altmeyer are unforgettable as Siegmund and Sieglinde. And for all that initial resistance, there's much lustrous and beautifully detailed orchestral playing under Boulez's direction.

What they had with the Boulez-Chéreau Ring was a brilliant televisual experience -- colourful, vivid, a mix of fantasy and high drama that was way ahead of its time in presenting singers who looked their parts in performances that managed to be both believable on the small screen and still grand enough to belong to the impossibly lofty world of opera . . . Chéreau's . . . gods were never more nor less than ordinary human beings; the great mythic tale was revealed as an exposé of the beliefs, ambitions and failings of people in our own (or, at least, Wagner's own) time . . . The second is the emotional power of the production . .. none has gone for the solar plexus like Chéreau did . . . Every quickly changing feeling in the relationship between Brünnhilde and Wotan flashes across Gwyneth Jones's face . . . and how Jones sang her heart out! Other scenes . . . are just as exciting. For so many of the singers who appeared in it . . . this "Ring" will be the recording by which they are remembered. Thirty years on it still makes my heart beat faster.

Die hohe musikalische Qualität unter der Leitung von Pierre Boulez blieb gewahrt . . . Wer hätte gedacht, daß die Stunde der Oper im Fernsehen ausgerechnet mit dem »Ring« schlägt?

The musical quality under Pierre Boulez's direction remained consistently high . . . Who would have thought that opera's time on television would come at last with the "Ring", of all things?

La grande qualité musicale de la direction de Pierre Boulez est préservée . . . Qui aurait cru que l'heure de l'opéra à la télévision sonnerait enfin avec le «Ring»?

In Kameraführung, Bildschnitt und szenisch-musikalischer Übereinstimmung perfekt . . . Selten war Fernseh-Oper so faszinierend.

. . . Deutlich, wie sehr Boulez' Interpretation der Wagnerschen Partitur vom Herkömmlichen abwich . . . Transparenz wurde angestrebt, und erreicht.

Anschaulich, erzählfreudig, bühnengerecht, auf so intelligente Weise naiv, daß Wagner nun auch vor dem Millionenpublikum seinen "Durchbruch" feiern durfte . . . Aus dem Bühnenstück ist eine abendfüllende Tele-Vision geworden, die viel (allzuviel?) "Entfremdung" zwischen Wagner und dem Massenpublikum abbaut . . . Das Faszinierende an diesem Stück von Liebe und Lüge: es blieb für jedermann durchschaubar.