I LOVE that silence at the end until Barenboim dropped his hands. That's a very rare occurence. What joy, what hope, what love. Perhaps humanity has a chance.
Back in the early 70's, I had the rare privilege of hearing a concert version of the 4th act of Gotterdamerung at Orchestra hall in Chicago conducted by the great Solti. The audience reaction at the end was much the same as this. An utterly transcendent experience. Walking out of the hall onto Michigan Ave. in Chicago was like stepping back into an other space and time.
Whenever someone wants to understand a little bit more about classical music, I tell them about the "communion," as he puts it (I myself used this word before I heard bim use it) between the composer, the performer and the audience, and now I play this clip. It spells it out perfectly.
….Das hat das Auditorium sehr, sehr gut gemeistert, dieser lange Nachhall. Die schlechte Praxis anderswo soll hier nicht dargelegt werden. Hier ist ein wunderbares Publikum, daß jeden Takt wahrlich durchlebt. Mein großes Kompliment den Menschen in der RAH! Mi piace moltissimo
Wow, the silence at the end and the outburst of joy in the audience is wonderful. And yes, the Staatskapelle deserves the applause. I´m proud to be living in Berlin, a city that has three opera houses and two of the best orchestras in the world. And Barenboim is just a genius with a fine sense of humor and a political sensibility that is outstanding. His achievements for understanding through music, that knows no boundaries, no religious conflicts, are so special to me. Thank you, maestro, for giving us your heart and your emotional way of connecting us with Wagner and his music.
I love how in this version they really play up the drum leading up to the final iteration of the Redemption Through Love motive. Most productions will have it fade out instead. Amazing all around!
I agreee about the drums, but everything thing else was out of balance immediately after. I initially thought the trumpets were loud. Listening back, they were right and everyone else was quiet. That moment should be like walking into a cool shower on a hot day. Isn't the internet great. I sit in my chair and tell Daniel Barenboim that he's done a bad job... ;)
6:33 "We've come full circle and arrived back where we started-And yet, everything's changed. That's the awesome power of the ring…a power that we can all be part of. It's not Wagner's ring…It's yours." **Sobs hysterically**
There is so much I could write about the end of Wagner's Ring cycle, but it is meaningless if you haven't experienced it or experienced being alive itself...this is the most absolute transpendic moment in art, if anything in art can qualify
Thank you, thank you for recording this tremendous piece so we can see the entire orchestra at work. So many videos just focus on the conductor. This piece is extraordinary, with extraordinary instruments, six harpists...few recordings let us see the power of the orchestra at work. YOU DID and I sincerely thank you!
wow, first time i have seen this .. and \i was there every evening of this amazing Ring in 2013, standing, having driven 100 miles to London each lunchtime and arriving back home around 1am. i had forgotten Barenboims wonderful speech at the end. thanks for sharing
Thank you so much for uploading this! I cannot get over the whole Albert Hall held in abject silence by a single raised hand. With the ring, Wagner stretches the very fabric of music drama to breaking to point; the edifice threatens to collapse under the weight of its disparate themes, both musical and philosophical. But in the immolation, everything suddenly feels like it makes sense. Meaning is conjured through pure sound, and the opera evaporates with a profound statement of love and hope that the world needs now more than ever. How remarkable it was to share that with 5000 people who instinctively knew that this wonderful music must be allowed to sing, even as it dies.
ChiKettle , I don't get your disparate themes idea. The leitmotifs fit perfectly like a jigsaw, with the Rhine theme holding everything together. The Ring is a miraculous work of improvisational genius, playing on just a few notes in very simple arrangements throughout. That the Immolation makes sense, as you say, is just Wagner's conclusion in a game of musical logic (like Bach); all the rest is the tension building. For me, it is coherent throughout. I attended this whole Prom cycle, and it was over too soon. The Immolation was actually the poorest part because Nina Stemme sang behind the orchestra instead of at the front. She visibly struggled with that, and it was her best part. Her Die Walküre opening aria was utterly sensational, the best I've ever heard!
Barenboim is one of my favorite Wagner conductors. His ending of the immolation is without peer; a whole new way to hear the final bars...a revelation. This performance is a sonic wonder. Bravi!
The pause after the last audible note has subsided is quite extraordinary. As a Viennese I am accustomed to a comparatively disciplined and educated audience, which perhaps lingers a couple of seconds after the last note has subsided but I have never experienced anything close to this in terms of duration (it is 16 second by my count). That makes me want to attend the Proms even more. Hats off to the Brits.
Still holds up as one of the greatest Rings ever recorded. Watching again from all those years ago when I was there for every night of the Ring. Barenboim and every member of orchestra know this music so well. The response on the night was authentic. The acoustic is more analytic than in Bayreauth itself, having been to two Bayreauth Rings and this, I would still take this interpretation over anything I've heard at Bayreauth. I would seek out the recordings, because this is Barenboim's sublime interpretation of this music. It doesn't exist on any disc or CD. I have the BBC recordings thatnkfully, they are a treasure
The orchestral performance is really outstanding. Barenboim is a true master and knows every corner of the score. I doubt whether he or Thielemann provides the best Wagner today; probably both. Stemme sings and shouts 50% each, and whoever sings Hagen's last phrase enters late and holds the last note for too long. The only flaws in this astonishing clip. Many thanks for recording and sharing.
@@ozzietadziu This is true for Das Rheingold. Besides the six harps playing in the orchestra, there’s a seventh onstage harp that plays at the end when the rhinemaidens cry the gold’s theft. The other three operas only require six harps.
J'aime bien comment il enchaîne ici (thème crépuscule // théme rédemption) : 06:07 C'est à l'oppose de la "tradition" inventée par je sais plus trop qui, où l'on fait carrément un silence de tout l'orchestre. Pour passer de l'un à l'autre, Barenboïm fait faire un sforzando de la batterie.
The whole Ring Cycle takes fifteen hours and involves many vocalists. This is just the final scene of Gotterdammerung, the last work in the Ring Cycle.
They did right with Stemmes position behind the orchestra. That would have been the problem of Jonas Kaufmann in the Elbphilharmonie Hamburg: the wrong position.
Magnificent! I miss Barenboim here in Chicago (though I love Muti as well). DB is fantastic in this repertoire. This is how it should be done musically and in terms of audience behavior (how often such an ending is marred by premature applause!). Wait until it's over and then go hoarse with bravos (I certainly have!).
Daniel Barenboim thanked the audience in his speech at the end for what they brought to the concert....their SILENCE ! He as serious. I got a kick out of that. It was great performance. Why didn't Brünnhilde - Nina Stemme - come out for bows at the end? Or if she did I missed her. Please camera man - get a tripod. Get two. Thank you for posting even if it was shaky.
Nina pierde el tiempo, justo antes de terminar, es gracioso, ver como uno de los maestros de los cornos la voltea a ver. Fallo, bueno, a quien no le pasa. Es magico como Barenboim, lo comprende y dirige magistralmente, de tal suerte que cae justo a tiempo con el.
DId anyone think to rip the iPlayer stream of this at the time? I thought I did but can't find a copy anywhere. Such a shame not to have a good quality recording of such a high calibre performance :(
I came here for, "You were my brother, Anakin!!!" Suffice to say, this is not Star Wars. Any one else make the same mistake? Note to self: "THE Immolation Scene," not "Immolation Scene."
Maybe I'm imagining things, but 6:24 bass trombone drops out, tuba stares him down and he just gives a whatever gesture.... what the heck!!! Barenboim is a genius...I would give up anything to play in an orchestra under the direction of Barenboim...that's just so...ugh.
He does, normally there is a silent pause in the music at that point but Barenboim continues instead and the contrabass trombone almost fainted through holding the long note. Those instruments require a lot of energy and it can easily happen. Maybe it wasn't something that had happened in rehearsal or he was tired after playing through all 5-6 hours of the opera. It is an excellent performance though!!
Its not very professional to choose to hold the note so that the following entrance on the C# with the tuba part is missed. (Having just played this) Perhaps it wasn’t rehearsed that way, but that really isn’t an excuse to draw attention away from the performance like that in my book by falling over and missing the next entrance...if it was accidental why not stop for a breath before you get to that point? Especially in a heavily orchestrated part like that. It seemed non accidental to me, which made me upset, but I would be relieved if it was. Despite that it is a pretty good performance, the interpretation is awesome.
@@vmineptune8236 I agree about taking a breath, it is certainly what I would do if I was playing this again. I still wouldn't accuse this of being non-accidental though. It is possible that he thought he could hold it and it didn't work - seems like a mistake in my books and mistakes should never define a performance or the level of his playing. Csaba Wagner is not only a great player but a very consummate professional. He wouldn't have the position or reputation if he did stunts like this in front of conductors like Barenboim.
I see it's him being overcome too 😂 good catch. I see a few of them wiping sweat, the stamina it takes is incredible and they're under those hot lights in heat producing clothing. I was still very moved by this particular performance.
@@baritoneblazzin1965 So did the uploader of the video work for the production of the Proms? That's the only thing I can imagine for as to why they were able to acquire the authentic audio.
Great art is capable of surpassing all boundaries - there we had an Israeli conductor producing a fantastic performance of music written by a notorious anti-Semite. And you know what? It didn't matter a damn - that's what music's all about.T
Nonsense. The greatest Brünnhilde in the history of recordings is Frida Leider, but we will never know who the greatest Brünnhilde who ever lived was. There were two generations of Wagner singers between the Bayreuth premiere of the complete Ring in 1876, and the advent of reliable electrical recording of music in 1925. In those intervening forty-nine years, many great interpreters of the role of Brünnhilde came and went, including: 1) Amalie Materna, who created the role in the first complete Ring at the tender age of thirty-two years; 2) Lilli Lehmann, who sang Woglinde and Helmwige in the 1876 Bayreuth Ring, and later took Wotan's daughter into her repertoire; 3) Lillian Nordica, an American Brünnhilde who died in 1914. It is highly possible that either Lehmann or Materna was the greatest Brünnhilde that ever lived, particularly given the fact that each lady worked closely with Wagner himself, under his direct supervision and guidance. However, due to the primitive state of recording during their lifetimes, we cannot get a proper impression of their vocal strength and interpretative abilities. Their close proximity to the composer, however, as well as their inevitable internalisation of his ideal interpretation of the role, makes it all but certain that either Materna or Lehmann was the 'greatest Brünnhilde that ever lived'.
Oh well, I was expecting Brunnhilde to ride off into the flames on her horse Grane, but apart from that it is pretty spectacular. And it is good to see Maestro Barenboim scrub off a wee bit of Wagner's self-induced anti-Semitic stain that his literary paint gun splattered all over his musical genius in a quest for German nationalism, as well as its unfortunate and unjust expropriation by the Third Reich tying it to genocidal purposes which has tainted the historical lens. "Oh Danny boy, oh Danny boy, I love you so."
Of course the beautiful redemption thru love theme which ends the Ring is not beautiful, not love, it is really ugly with hate. Because, you know, Wagner questioned and found fault with some things Jewish( along with the french, the Jesuits, the marriage between religion and capitalism, cheap commercialism, mediocrity, etc, etc) Shame on him. He should be more like David, the emblem of Israel. Right?
Yes, Wagner was all those things and more. And then....he was also divinely inspired...perhaps more so than any other musical genius. Levine (pardon the expression) knows that; Barenboim knows that. All the great artists have been able to separate Wagner's dark side from his light. I respect your right NOT make that separation.
I LOVE that silence at the end until Barenboim dropped his hands. That's a very rare occurence. What joy, what hope, what love. Perhaps humanity has a chance.
drtmuir As many others have observed, the audience at the Proms is one of the most attentive in the world.
With Wagner, the orchestra must be among the most highly trained. With Barenboim, so must the audience.
Back in the early 70's, I had the rare privilege of hearing a concert version of the 4th act of Gotterdamerung at Orchestra hall in Chicago conducted by the great Solti. The audience reaction at the end was much the same as this. An utterly transcendent experience. Walking out of the hall onto Michigan Ave. in Chicago was like stepping back into an other space and time.
@@thesedreamsarefree ruclips.net/video/oOGs8TtnwoI/видео.html
Whenever someone wants to understand a little bit more about classical music, I tell them about the "communion," as he puts it (I myself used this word before I heard bim use it) between the composer, the performer and the audience, and now I play this clip. It spells it out perfectly.
….Das hat das Auditorium sehr, sehr gut gemeistert, dieser lange Nachhall. Die schlechte Praxis anderswo soll hier nicht dargelegt werden. Hier ist ein wunderbares Publikum, daß jeden Takt wahrlich durchlebt. Mein großes Kompliment den Menschen in der RAH! Mi piace moltissimo
Wow, the silence at the end and the outburst of joy in the audience is wonderful. And yes, the Staatskapelle deserves the applause. I´m proud to be living in Berlin, a city that has three opera houses and two of the best orchestras in the world. And Barenboim is just a genius with a fine sense of humor and a political sensibility that is outstanding. His achievements for understanding through music, that knows no boundaries, no religious conflicts, are so special to me. Thank you, maestro, for giving us your heart and your emotional way of connecting us with Wagner and his music.
Well not to take away from the moment, but Barenboim cheated the audience into silence by keeping his hand up.
Quotenwagnerianer Believe me, not every audience would respect that.
pocketjohnson I was there for the whole cycle and it was one of the most amazing Ring Cycles ever.
I love how in this version they really play up the drum leading up to the final iteration of the Redemption Through Love motive. Most productions will have it fade out instead. Amazing all around!
I agreee about the drums, but everything thing else was out of balance immediately after. I initially thought the trumpets were loud. Listening back, they were right and everyone else was quiet. That moment should be like walking into a cool shower on a hot day.
Isn't the internet great. I sit in my chair and tell Daniel Barenboim that he's done a bad job... ;)
G🙏et well Maestro Barenboim; you're in our prayers.🙏
6:33 "We've come full circle and arrived back where we started-And yet, everything's changed. That's the awesome power of the ring…a power that we can all be part of. It's not Wagner's ring…It's yours." **Sobs hysterically**
Omg 😭😭Not me sobbing at this comment UGH I love The Ring so much
There is so much I could write about the end of Wagner's Ring cycle, but it is meaningless if you haven't experienced it or experienced being alive itself...this is the most absolute transpendic moment in art, if anything in art can qualify
Thank you, thank you for recording this tremendous piece so we can see the entire orchestra at work. So many videos just focus on the conductor. This piece is extraordinary, with extraordinary instruments, six harpists...few recordings let us see the power of the orchestra at work. YOU DID and I sincerely thank you!
wow, first time i have seen this .. and \i was there every evening of this amazing Ring in 2013, standing, having driven 100 miles to London each lunchtime and arriving back home around 1am. i had forgotten Barenboims wonderful speech at the end. thanks for sharing
Thank you so much for uploading this! I cannot get over the whole Albert Hall held in abject silence by a single raised hand.
With the ring, Wagner stretches the very fabric of music drama to breaking to point; the edifice threatens to collapse under the weight of its disparate themes, both musical and philosophical. But in the immolation, everything suddenly feels like it makes sense. Meaning is conjured through pure sound, and the opera evaporates with a profound statement of love and hope that the world needs now more than ever. How remarkable it was to share that with 5000 people who instinctively knew that this wonderful music must be allowed to sing, even as it dies.
ChiKettle
, I don't get your disparate themes idea. The leitmotifs fit perfectly like a jigsaw, with the Rhine theme holding everything together. The Ring is a miraculous work of improvisational genius, playing on just a few notes in very simple arrangements throughout. That the Immolation makes sense, as you say, is just Wagner's conclusion in a game of musical logic (like Bach); all the rest is the tension building. For me, it is coherent throughout. I attended this whole Prom cycle, and it was over too soon. The Immolation was actually the poorest part because Nina Stemme sang behind the orchestra instead of at the front. She visibly struggled with that, and it was her best part. Her Die Walküre opening aria was utterly sensational, the best I've ever heard!
Barenboim is one of my favorite Wagner conductors. His ending of the immolation is without peer; a whole new way to hear the final bars...a revelation. This performance is a sonic wonder. Bravi!
That ending was spectacular. I have never heard it done that way,but it gives an added dimension.
The pause after the last audible note has subsided is quite extraordinary. As a Viennese I am accustomed to a comparatively disciplined and educated audience, which perhaps lingers a couple of seconds after the last note has subsided but I have never experienced anything close to this in terms of duration (it is 16 second by my count). That makes me want to attend the Proms even more. Hats off to the Brits.
Quelle performance, avec un mur orchestral pareil. Une merveille. La Stemme, une merveille.
This music is so fantastic and down to the core of my soul, each time it leaves me humble and emotional. Thank you, Bravo!
Sigh... if only every opera pit was large enough to accomadate that orchestra as Wagner wanted it. 6 Harps is a must for an adequate Ring.
Correct! I have just stumbled on this and was amazed to see 6 of those lovely animals . . .
Also so wonderful and fitting that the orchestra gets the first bow. They are the engine and the heart of the whole matter.
La seule qui ne nous fasse pas regretter les temps anciens ! La dernière grand wagnérienne...
I love this audience!!!
This is truly magnificent.
Unbelievable. The last release the audience Waited and waited and waited until Barenboim "release them all". That was unreal for an audience...
Probably one of the most amazing pauses in Music history
I like the flames rising from the destruction of Valhalla - nice visual addition!
The best silence I have ever heard.
Still holds up as one of the greatest Rings ever recorded. Watching again from all those years ago when I was there for every night of the Ring. Barenboim and every member of orchestra know this music so well. The response on the night was authentic. The acoustic is more analytic than in Bayreauth itself, having been to two Bayreauth Rings and this, I would still take this interpretation over anything I've heard at Bayreauth. I would seek out the recordings, because this is Barenboim's sublime interpretation of this music. It doesn't exist on any disc or CD. I have the BBC recordings thatnkfully, they are a treasure
Awesome! The SIX REQUISITE HARPS. Giving the correct peaceful and reconciliatory Rhine burble, and celestial dimension . . .
wonderful. It gives you goose bumps!
The orchestral performance is really outstanding. Barenboim is a true master and knows every corner of the score. I doubt whether he or Thielemann provides the best Wagner today; probably both. Stemme sings and shouts 50% each, and whoever sings Hagen's last phrase enters late and holds the last note for too long. The only flaws in this astonishing clip. Many thanks for recording and sharing.
Thank you Robert for sharing this. Good day!
SUBLIME!!!!!
C'est magnifique!!! C'est formidable!!!!
One of the last of the great conductors. Barenboim is 75 and Haitink is 89.
Astounding silence. And my mate Julian getting in with the first "Bravo!" Result!
The best...Barenboim
Outstanding ending for an outstanding tetralogy.
Six HARPS!!! WOW!!!
Yes, Wagner's orchestrations are without peer!
#justringthings
I was always told that Wagner's original orchestration required seven harps. I'm not so sure that this was true but I certainly hope so.
@@ozzietadziu This is true for Das Rheingold. Besides the six harps playing in the orchestra, there’s a seventh onstage harp that plays at the end when the rhinemaidens cry the gold’s theft. The other three operas only require six harps.
@@123C4F Thanks. I've never seen a full score for any of the Ring operas.
superb sound of this in
house recording!
Espectacular final, de el Ocaso de los Dioses..!!
J'aime bien comment il enchaîne ici (thème crépuscule // théme rédemption) : 06:07
C'est à l'oppose de la "tradition" inventée par je sais plus trop qui, où l'on fait carrément un silence de tout l'orchestre.
Pour passer de l'un à l'autre, Barenboïm fait faire un sforzando de la batterie.
this video is the reason i'm on youtube
T5HE POWER of Daniel Barenboim!
i wonder how many days and months did the orchestra and conductor spent on rehearsing the whole ring cycle.....
The whole Ring Cycle takes fifteen hours and involves many vocalists. This is just the final scene of Gotterdammerung, the last work in the Ring Cycle.
They did right with Stemmes position behind the orchestra. That would have been the problem of Jonas Kaufmann in the Elbphilharmonie Hamburg: the wrong position.
Magnificent! I miss Barenboim here in Chicago (though I love Muti as well). DB is fantastic in this repertoire. This is how it should be done musically and in terms of audience behavior (how often such an ending is marred by premature applause!). Wait until it's over and then go hoarse with bravos (I certainly have!).
🎹 Superb 🎹 Despite Nina Stemme's catterwalling!
The music of the Last Judgement
Daniel Barenboim thanked the audience in his speech at the end for what they brought to the concert....their SILENCE ! He as serious. I got a kick out of that. It was great performance. Why didn't Brünnhilde - Nina Stemme - come out for bows at the end? Or if she did I missed her. Please camera man - get a tripod. Get two. Thank you for posting even if it was shaky.
Nina pierde el tiempo, justo antes de terminar, es gracioso, ver como uno de los maestros de los cornos la voltea a ver. Fallo, bueno, a quien no le pasa. Es magico como Barenboim, lo comprende y dirige magistralmente, de tal suerte que cae justo a tiempo con el.
who are from Peru?
Likes are being dropped from this. I have watched it several times and now it doesn't show a like.
Barenboim still owes me $20.
Sensacional !
The "original" Wall of Sound!
Bravo
DId anyone think to rip the iPlayer stream of this at the time? I thought I did but can't find a copy anywhere. Such a shame not to have a good quality recording of such a high calibre performance :(
@@samgrant83 anything you have would be wonderful!
I came here for, "You were my brother, Anakin!!!" Suffice to say, this is not Star Wars. Any one else make the same mistake? Note to self: "THE Immolation Scene," not "Immolation Scene."
this is the immolation scene, you manchild. your shitty kids movie was made to sell merchandise
Maybe I'm imagining things, but 6:24 bass trombone drops out, tuba stares him down and he just gives a whatever gesture.... what the heck!!! Barenboim is a genius...I would give up anything to play in an orchestra under the direction of Barenboim...that's just so...ugh.
He does, normally there is a silent pause in the music at that point but Barenboim continues instead and the contrabass trombone almost fainted through holding the long note. Those instruments require a lot of energy and it can easily happen.
Maybe it wasn't something that had happened in rehearsal or he was tired after playing through all 5-6 hours of the opera. It is an excellent performance though!!
Its not very professional to choose to hold the note so that the following entrance on the C# with the tuba part is missed. (Having just played this) Perhaps it wasn’t rehearsed that way, but that really isn’t an excuse to draw attention away from the performance like that in my book by falling over and missing the next entrance...if it was accidental why not stop for a breath before you get to that point? Especially in a heavily orchestrated part like that. It seemed non accidental to me, which made me upset, but I would be relieved if it was. Despite that it is a pretty good performance, the interpretation is awesome.
@@vmineptune8236 I agree about taking a breath, it is certainly what I would do if I was playing this again.
I still wouldn't accuse this of being non-accidental though. It is possible that he thought he could hold it and it didn't work - seems like a mistake in my books and mistakes should never define a performance or the level of his playing.
Csaba Wagner is not only a great player but a very consummate professional. He wouldn't have the position or reputation if he did stunts like this in front of conductors like Barenboim.
I see it's him being overcome too 😂 good catch. I see a few of them wiping sweat, the stamina it takes is incredible and they're under those hot lights in heat producing clothing. I was still very moved by this particular performance.
Maravilloso..!!
thank you.
I just listened to the Tennstedt/Norman studio version and Barenboim does not have Tennstedt's magic.
Regrettably, the soprano who magnificently portrayed Brunnhilde was unidentified.
Nina Stemme. It’s in the description
her vibrato sounds like a castrated dog, this isn't an italian opera
6:50 The camera pans out and the words THE END appear on screen.
I think the Contrabass Trombone player got light-headed at 6:17 :(
Right !
Der Posaunedämmerung
How did you get such incredible audio? Did you sneak in some recording microphones? Lol
She was probably miked for vocal enhancement which is why her voice sounds miked and not in a normal resonance sense of projection.
@@baritoneblazzin1965 So did the uploader of the video work for the production of the Proms? That's the only thing I can imagine for as to why they were able to acquire the authentic audio.
Great art is capable of surpassing all boundaries - there we had an Israeli conductor producing a fantastic performance of music written by a notorious anti-Semite. And you know what? It didn't matter a damn - that's what music's all about.T
Argentinian
Ms. Stemme is really white-knuckling it here.
Is this a live recording or did you sync it with the radio recording?
Filmed live with a good quality SLR camera ... hand held ... and damned heavy after 15 minutes!
Good work!!
Found my iPlayer rips! Uploaded here as 256kbps mp3s: mega.nz/#F!Pd4XSZ6A!Wup1Ktc5WbHhOEqNiidC8Q
My favorite Brunhilde. :-)
You never heard Birgit Nilsson. She is the greatest Brunnhilde that ever lived.
And FLAGSTAD
Nonsense. The greatest Brünnhilde in the history of recordings is Frida Leider, but we will never know who the greatest Brünnhilde who ever lived was. There were two generations of Wagner singers between the Bayreuth premiere of the complete Ring in 1876, and the advent of reliable electrical recording of music in 1925. In those intervening forty-nine years, many great interpreters of the role of Brünnhilde came and went, including:
1) Amalie Materna, who created the role in the first complete Ring at the tender age of thirty-two years;
2) Lilli Lehmann, who sang Woglinde and Helmwige in the 1876 Bayreuth Ring, and later took Wotan's daughter into her repertoire;
3) Lillian Nordica, an American Brünnhilde who died in 1914.
It is highly possible that either Lehmann or Materna was the greatest Brünnhilde that ever lived, particularly given the fact that each lady worked closely with Wagner himself, under his direct supervision and guidance. However, due to the primitive state of recording during their lifetimes, we cannot get a proper impression of their vocal strength and interpretative abilities. Their close proximity to the composer, however, as well as their inevitable internalisation of his ideal interpretation of the role, makes it all but certain that either Materna or Lehmann was the 'greatest Brünnhilde that ever lived'.
Absolutely Birgit Nilsson is the best!
@@erichmayr7299 And Flagstad. And Traubel. Nilsson, Flagstad, and Traubel are the greatest Brunnhildes who ever lived.
You can dig the 6 harps here!!!!!!!
Gwyneth Jones 1991
Une tres généreuse Brunhilde en effet. On avait chaque fois trois notes pour le prix d'une !
Dommage que Barenboim ait dirigé dans autant de hideuses productions.
Great conducting, but Stemme can't match the best singers of this role.
Oh well, I was expecting Brunnhilde to ride off into the flames on her horse Grane, but apart from that it is pretty spectacular. And it is good to see Maestro Barenboim scrub off a wee bit of Wagner's self-induced anti-Semitic stain that his literary paint gun splattered all over his musical genius in a quest for German nationalism, as well as its unfortunate and unjust expropriation by the Third Reich tying it to genocidal purposes which has tainted the historical lens. "Oh Danny boy, oh Danny boy, I love you so."
‘’
My god that soprano is AWFUL.
Such awful wobble!!
I don’t like the Soprano/ she sounds like an old lady warbler in the church choir. No one compares yo Birgit Nilsson.
Of course the beautiful redemption thru love theme which ends the Ring is not beautiful, not love, it is really ugly with hate. Because, you know, Wagner questioned and found fault with some things Jewish( along with the french, the Jesuits, the marriage between religion and capitalism, cheap commercialism, mediocrity, etc, etc) Shame on him. He should be more like David, the emblem of Israel. Right?
Yes, Wagner was all those things and more. And then....he was also divinely inspired...perhaps more so than any other musical genius. Levine (pardon the expression) knows that; Barenboim knows that. All the great artists have been able to separate Wagner's dark side from his light. I respect your right NOT make that separation.
Are we on the same page? I am speaking with tongue in cheek.i.e sarcasm about his critics
It's wonderful musib disregarding whatever politics we would like yo involve
Who is the terrible singer? She gets completely off track at the end (in addition to having an ugly wobbly voice).
esecuzione Magnifica.