LEINSDORF Wagner Ring Cycle: 2. Die Walküre (1961, Met) - PACO153

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overviewfb55cd020f0643f08418183279e63a5fWAGNER Der Ring Des Nibelungen: 2. Die Walküre Live broadcast performance, 1961Total duration: 3hr 31:04 (includes radio announcements) Brün nhilde - Birgit NilssonSiegmund - Jon VickersSieglinde - Gladys KuchtaWotan - Otto EdelmannFricka - Irene DalisHunding - Ernst Wiemann Metropolitan Opera Orchestra & Chorusconducted by Erich Leinsdorf578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples/PACO153.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f After the two and a half uninterrupted hours of the Ring’s prologue, Das Rheingold, Die Walküre returns to Wagner’s standard three act format. The number of principals shrinks to just six (plus eight Valkyries) and the opera demands typical Wagnerian stamina from Brünnhilde and Wotan in particular. Die Walküre is by far the most approachable of the four Ring operas, and is the only one to be regularly performed as a standalone opera. The story is self-contained and the music is some of the most memorable and stirring of the entire cycle. In Act 1 Siegmund and Sieglinde, twins fathered by Wotan, meet and fall in love, despite being menaced by Sieglinde’s husband, Hunding. Fricka, goddess of marriage, reminds Wotan in Act 2 that Siegmund must pay for violating the sanctity of marriage and Wotan reluctantly instructs Brünnhilde to prevent Siegmund winning a duel with Hunding. After meeting Siegmund however, Brünnhilde rebels and tries to help him. In the midst of the duel, Wotan appears, breaks Siegmund’s sword (which he himself left for Siegmund in Hunding’s home) and allows him to be killed. Brünnhilde flees Wotan’s wrath but the god catches up with her in Act 3. Brünnhilde’s punishment is to sleep on a rock surrounded by magic fire, where she will wait for a hero to rescue her. The superstar of this performance is clearly Birgit Nilsson. She had sung the role of Brünnhilde a couple of times at the Met in 1960, as well as at Bayreuth, but this is the first time the broadcast audience would hear her in the complete cycle. For those familiar with her Isolde and Turandot, her Brünnhilde is everything a Wagnerian would want. Her entrance in Act 2 is one of the most famous in all opera, and also perhaps the most daunting, with her battle cries demanding top Bs and Cs, both short and sustained. The audience can gauge how good their Brünnhilde is going to be within seconds of her first notes. There have been many great Brünnhildes but none quite like Nilsson. Her high notes can only be described as ‘laser-like’, easily soaring above the orchestra to the very back of the auditorium. The sheer freedom of her voice as she unleashes it is magnificent. Her Brünnhilde is clearly a warrior maiden to be reckoned with. Otto Edelmann is an experienced Wotan. The Austrian bass was particularly well known for his portrayal of Hans Sachs in Die Meistersinger von Nürnberg, a role he had sung at the first post-war Bayreuth festival, and brought to the Met in 1954. His artistry is widely preserved in broadcast recordings, as well as a famous Act 3 of Die Walküre recorded for Decca in 1957 with Kirsten Flagstad as Brünnhilde and Georg Solti conducting, often seen as a test-run for the complete Decca ring. Canadian Jon Vickers, singing Siegmund, had a lengthy international career encompassing some of the most demanding tenor roles. His manly, forthright, tone was ideally suited to Otello, Peter Grimes, Aeneas, Don José, and Parsifal. Later in his career he successfully added the role of Tristan. As a heroic tenor who kept one foot firmly in the Italian/French repertoire, Vickers gives us a Siegmund who can sing with both a touching tenderness and ringing declamation. Sieglinde is sung by American Gladys Kuchta. The bulk of Kuchta’s career was in Europe, particularly in Germany, and she features in only three Met broadcasts (two of which formed part of this Ring Cycle). Although a versatile soprano, her large voice inevitably led her into the heavier roles of Wagner and Strauss such as Brünnhilde, Isolde, Elektra and the Dyer’s Wife. Kuchta captures the femininity of Sieglinde very nicely, while being well able to match Vickers in the more dramatic moments. Like Kuchta, Ernst Wiemann spent most of his career in his native Germany, mainly in Hamburg, but at the Met he sang many of the major Wagnerian bass roles such as Daland, Pogner, and King Henry. He sings Hunding with appropriate malevolence and he is also the Fafner in Das Rheingold in this broadcast cycle (PACO152). Irene Dalis is the only other principal to remain from the first opera in the cycle, reprising her role as Fricka. The reviewer in Musical America commented ‘Miss Dalis was so beautiful a Fricka that it was hard to understand Wotan's notorious infidelities.’ Her short scene with Wotan confirms her as one of the leading mezzo-sopranos of her generation. Conductor Erich Leinsdorf insisted that the traditional Met cuts made in Acts 2 and 3 of Die Walküre be restored. Parts of Wotan’s Act 2 monologue and the Brünnhilde/Wotan scene in Act 3 were the usual sacrifices, though they varied slightly in length according to the preference of the conductor. This broadcast is the first time the radio audience had heard the complete score since Leinsdorf’s first broadcast in 1940 (PACO125). 578a9379d1e540bd96d26f03a79628d9tab1_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_contentfb55cd020f0643f08418183279e63a5fLEINSDORF Wagner Ring Cycle: 2. Die Walküre (1961, Met) 1. RADIO Introduction (1:50) WAGNER Der Ring Des Nibelungen: 2. Siegfried2. Wagner: Die Walküre — Act I_ Prelude (2:41)3. Wagner: Die Walküre — Act I, Scene 1_ Wes Herd dies auch sei, hier muss ich rasten (3:26)4. Wagner: Die Walküre — Act I, Scene 1_ Kühlende Labung Gab Mir Der Quell! (4:31)5. Wagner: Die Walküre — Act I, Scene 1_ Einen Unseligen labtest du (4:27)6. Wagner: Die Walküre — Act I, Scene 2_ Müd am Herd fand ich den Mann (4:22)7. Wagner: Die Walküre — Act I, Scene 2_ Friedman darf ich nicht heissen (5:27)8. Wagner: Die Walküre — Act I, Scene 2_ Die so leidig Los dir beschied (4:01)9. Wagner: Die Walküre — Act I, Scene 2_ Ich weiss ein wildes Geschlecht (5:21)10. Wagner: Die Walküre — Act I, Scene 3_ Ein Schwert verhiess mir der Vater (4:42)11. Wagner: Die Walküre — Act I, Scene 3_ Schläfst du, Gast_ (6:05)12. Wagner: Die Walküre — Act I, Scene 3_ Winterstürme wichen dem Wonnemond (2:46)13. Wagner: Die Walküre — Act I, Scene 3_ Du bist der Lenz, nach dem ich verlangte (1:49)14. Wagner: Die Walküre — Act I, Scene 3_ O süsseste Wonne! Seligstes Weib! (5:38)15. Wagner: Die Walküre — Act I, Scene 3_ Siegmund heiss ich und Siegmund bin ich! (3:27)16. Wagner: Die Walküre — Act II_ Prelude — Nun zäume dein Ross, reisige Maid! (2:22)17. Wagner: Die Walküre — Act II, Scene 1_ Ho-jo-to-ho! Ho-jo-to-ho! (2:16)18. Wagner: Die Walküre — Act II, Scene 1_ Der alte Sturm, die alte Muh'! (3:19)19. Wagner: Die Walküre — Act II, Scene 1_ Heut hast du's erlebt (1:02)20. Wagner: Die Walküre — Act II, Scene 1_ So ist est denn aus mit den ewigen Göttern (2:48)21. Wagner: Die Walküre — Act II, Scene 1_ Nichts lerntest du (6:48)22. Wagner: Die Walküre — Act II, Scene 1_ Heiaha! Heiaha! Hojotoho! (2:46)23. Wagner: Die Walküre — Act II, Scene 2_ Schlimm, fürcht ich, schloss der Streit (5:32)24. Wagner: Die Walküre — Act II, Scene 2_ Als junger Liebe Lust mir verblich (4:25)25. Wagner: Die Walküre — Act II, Scene 2_ Ein andres ist's_ achte es wohl (8:53)26. Wagner: Die Walküre — Act II, Scene 2_ So nimm meinen Segen, Niblungen-Sohn! (4:22)27. Wagner: Die Walküre — Act II, Scene 2_ So sah ich Siegvater nie (3:02)28. Wagner: Die Walküre — Act II, Scene 3_ Raste nun hier; gönne dir Ruh! (3:09)29. Wagner: Die Walküre — Act II, Scene 3_ Hinweg! Hinweg! Flieh die Entweihte! (6:29)30. Wagner: Die Walküre — Act II, Scene 4_ Siegmund! Sieh auf mich! (7:53)31. Wagner: Die Walküre — Act II, Scene 4_ Erdenluft muss sie noch atmen (3:38)32. Wagner: Die Walküre — Act II, Scene 4_ Weh! Weh! Süssestes Weib (3:45)33. Wagner: Die Walküre — Act II, Scene 4_ Zwei Leben lachen dir hier (1:59)34. Wagner: Die Walküre — Act II, Scene 5_ Zauberfest bezähmt ein Schlaf (4:25)35. Wagner: Die Walküre — Act II, Scene 5_ Wehwalt! Wehwalt! (4:45)36. Wagner: Die Walküre — Act III_ Wulkurenritt — The Ride of the Valkyries (7:34)37. Wagner: Die Walküre — Act III, Scene 1_ Schütz mich und helft in höchster Not! (3:05)38. Wagner: Die Walküre — Act III, Scene 1_ Nicht sehre dich Sorge um mich (5:09)39. Wagner: Die Walküre — Act III, Scene 1_ Steh, Brünnhild'! (0:38)40. Wagner: Die Walküre — Act III, Scene 2_ Wo ist Brünnhild', wo die Verbrecherin! (3:20)41. Wagner: Die Walküre — Act III, Scene 2_ Hier bin ich, Vater_ gebiete die Strafe! (8:41)42. Wagner: Die Walküre — Act III, Scene 3_ War es so schmählich, was ich verbrach (4:25)43. Wagner: Die Walküre — Act III, Scene 3_ Nicht weise bin ich, doch wusst' ich das Eine (4:30)44. Wagner: Die Walküre — Act III, Scene 3_ So tatest du, was so gern zu tun ich begehrt (2:25)45. Wagner: Die Walküre — Act III, Scene 3_ Deinen leichten Sinn lass dich denn leiten (3:19)46. Wagner: Die Walküre — Act III, Scene 3_ Du zeugtest ein edles Geschlecht (4:52)47. Wagner: Die Walküre — Act III, Scene 3_ Leb wohl, du kühnes, herrliches Kind! (4:54)48. Wagner: Die Walküre — Act III, Scene 3_ Der Augen leuchtendes Paar (6:41)49. Wagner: Die Walküre — Act III, Scene 3_ Loge, hör! Lausche hieher! (4:50) 50. RADIO Outro (2:28) CAST Brünnhilde - Birgit NilssonSiegmund - Jon VickersSieglinde - Gladys KuchtaWotan - Otto EdelmannFricka - Irene DalisHunding - Ernst WiemannGerhilde - Carlotta OrdassyGrimgerde - Mary MacKenzieHelmwige - Heidi KrallOrtlinde - Martina ArroyoRossweisse - Margaret RoggeroSchwertleite - Gladys KrieseSiegrune - Helen VanniWaltraute - Mignon Dunn Metropolitan Opera Orchestra & Chorusconducted by Erich Leinsdorf XR remastering by Andrew RoseCover artwork based on a photograph of Birgit Nilsson as Brünnhilde against a detail from Josef Hoffman's 1876 set designsLive broadcast from New York Metropolitan Opera House, 23 December, 1961 Total duration: 3hr 31:04 Opera duration: 3hr 26:46578a9379d1e540bd96d26f03a79628d9tab2_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/PACO153.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers/PACO153.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5fReview of Robert Sabin in the February 1962 issue of Musical AmericaThis first performance of the season of "Die Walküre" strengthened the conviction that the Metropolitan's current Ring series was to be a memorable artistic achievement and a public triumph. Once again, Erich Leinsdorf and the orchestra won some of the major ovations, and once again the audience gave every evidence of enjoying intently every measure of the unmutilated score.New to their roles at the Metropolitan were Miss Kuchta, Mr. Wiemann, Miss Arroyo, Miss MacKenzie and Miss Kriese. Miss Kuchta was an admirable Sieglinde and a welcome addition to the new generation of first-rate Wagnerian singers that is making itself known at the Metropolitan. Her voice was fresh and appealing in quality; she acted the role with intelligence; and when her great outburst in Act III came, she was ready for it.Though ideally one would like a heavier voice and more sinister characterization than Mr. Wiemann's, his Hunding was well conceived and projected.To the three new Valkyries, as well as to their sisters, should go hearty congratulations. It is vital to the opera that these roles should be taken by able singers and it was a delight to hear their fascinating music uncut and thrillingly sung.Though not as imposing as some Wotans of fairly recent memory, Mr. Edelmann is a sterling artist, and he handled the vocal difficulties he encountered in the last act with the assurance of a veteran. A memory slip only made things more troublesome, but there was much to praise in his performance as a whole.Miss Dalis was so beautiful a Fricka that it was hard to understand Wotan's notorious infidelities, but she was careful to bring out the goddess's unpleasant moral qualities. The looks which she exchanged with Brünnhilde in Act II spoke volumes. Her voice was especially lovely in the lyric passages, but she was also magnificent in the moments of vehemence and challenge.Once again, one rejoiced that Miss Nilsson's glorious voice was given to a splendid musician and skilled actress who could create for us the Brünnhilde of Wagner's imagination. To many of the younger generation her artistry will bring a new understanding of Wagner.As for Mr. Vicker's Siegmund, it is the best I have ever encountered. He cannot make the walls of the Metropolitan bulge with the "Wälse, Wälse," as Melchior used to, but his singing and acting of the role as a whole have a romantic glow and a musical finish that are well nigh unique.The Simonson settings for the last three operas of the Ring are all deplorable, and one can only hope that they will wear out rapidly. Nathaniel Merrill's direction, however, showed a genuine understanding of Wagner's intentions. This performance was so inspired that it seemed short.578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f Show more