On Discoveries from the Fleisher Collection, Saturday March 1st, 2015, 5-6 pm... Continuing our survey of the year 1915, we find one of the few people of the time—composers, critics, or audience members—who liked both Brahms and Wagner, and that's Karl Goldmark. A Hungarian composer trying to make his way in Vienna, he took on other jobs in and related to music. One of those jobs was music criticism.
James Levine returns to Wagner with a signature run of the epic comedy, Die Meistersinger von Nürnberg, back at the Met for the first time in eight years. Michael Volle is in the central role of Hans Sachs. Johan Botha reprises his indomitable Walther, and the elegant Annette Dasch is Eva. Saturday, December 13, 12 noon to 6 pm (***Note early start time and later end time.)
This Sunday at 1 pm on WRTI, it's a performance of Anton Bruckner's Symphony No. 7 by The Philadelphia Orchestra. The work, and the composer, are very close to Yannick's musical heart.
Paired with Wagner's tender Siegfried Idyll, you're in for an orchestral treat, in this rebroadcast of a Verizon Hall concert first heard last January, and broadcast a week after the death of the Orchestra's Conductor Laureate Wolfgang Sawallisch.
The prayers of a desperate woman are answered in the form of a noble warrior in Richard Wagner's most accessible opera, which contrasts the lust for power with the search for faith. The title role is sung by Brandon Jovanovich, "a first-rate Wagner tenor" (San Francisco Chronicle) who was an electrifying Siegmund in Die Walküre (2011). As his doubt-plagued bride, soprano Camilla Nylund "evokes an affecting degree of dreamy distance in Elsa's account of her mysterious savior" (Gramophone).
from Richard Wagner: Tristan und Isolde, Prelude and Liebestod
The Prelude and Liebestod from Richard Wagner's Tristan und Isolde, performed by the Polish National Radio Symphony Orchestra, Johannes Wildner, conductor, is featured on CD 2 in the WRTI 60th Anniversary Classical 3-CD set.
There are those who feel, quite frankly, that the Liebestod from Tristan und Isolde is the greatest piece of music ever written. The final climax of the music drama probably inspired by Wagner’s affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer, is certainly one of the peaks of the operatic repertory. Here, before our very ears, we experience the beginning of the move away from conventional harmony and tonality, and witness Wagner laying the groundwork for the direction of classical music in the 20th century as early as 1857!
The very first chord in the piece, the Tristan chord, is of great significance in the move away from traditional tonal harmony as it resolves to another dissonant chord! For me, the anticipation of final release in that last chord of the Liebestod is almost unbearable; but, when it finally comes, the lasting sense of ecstasy is as spine-tingling and blissful as anything in all art. I dissolve every time I hear it, and ask myself, “How could any human being have written this?”
Discoveries from the Fleisher Collection broadcasts Saturday, September 7th, 5 to 6 pm. The two most famous composers for whom 2013 is a bicentennial are Richard Wagner and Giuseppe Verdi. They were born in 1813, but in the spirit of Discoveries we’ll dig a little deeper to see what else happened that year.
Wagner’s Wesendonck songs and Siegfried Idyll are his only non-operatic works heard with any regularity these days. The songs are also unusual among his output because the words are by someone else (most of the time he set his own texts).
The legend of the ghostly ship condemned to wander the oceans forever has fascinated opera lovers - and more recently, movie lovers - for hundreds of years. An enthralling score powers a thrilling journey into an unsettling, mythic world where a tormented spirit seeks true love as his redemption. James Conlon, one of the foremost Wagner interpreters of our time, leads a world-class cast in a mesmerizing production. Richard Wagner: THE FLYING DUTCHMAN ((Der fliegende Holländer), Saturday, August 10, 1 to 3:30 pm.
How much do you know about Richard Wagner? Probably two unfavorable facts: He wrote very long, grandiose operas and was Hitler's favorite composer. As true as they are, those simple examples barely hint at the complexity of this endlessly creative and confounding artist.
As this year's Metropolitan Opera broadcast season comes to a close, join us to hear Götterdämmerung, the last opera in Richard Wagner's four-opera cycle, "Der Ring des Nibelungen." The Ring's cataclysmic finale stars Deborah Voigt as Brünnhilde opposite Lars Cleveman as Siegfried - the star-crossed lovers doomed by fate. Hans-Peter König is Hagen and Fabio Luisi conducts. Sunday, May 11, *11 am to 5 pm (*note early start time)
Wagner’s final masterpiece explores the many facets of this mystical score. Jonas Kaufmann stars in the title role of the innocent who finds wisdom. His fellow Wagnerian luminaries include Katarina Dalayman as the mysterious Kundry, Peter Mattei as the ailing Amfortas, Evgeny Nikitin as the wicked Klingsor, and René Pape as the noble knight Gurnemanz. Daniele Gatti conducts. Saturday, March 2, * 12 noon to 6 pm (*note early start time).