Reposted, now with FF links
# Composer: Richard Wagner
# Performer: Theo Adam, Birgit Nilsson, Helga Dernesch, Dorothea Siebert, Anja Silja,
Annelies Burmeister, Ruth Hesse, Vera Soukupová, Hermin Esser,
Erwin Wohlfahrt, Martti Talvela, Kurt Böhme, Gustav Neidlinger,
Gerd Nienstedt, Wolfgang Windgassen, Liane Synek, Gertraud Hopf,
Elisabeth Schärtel, James King, Sieglinde Wagner, Leonie Rysanek,
Sona Cervena, Danica Mastilovic, Erika Köth, Marga Höffgen,
Josef Greindl, Martha Mödl, Ludmila Dvoráková, Thomas Stewart
# Orchestra: Bayreuth Festival Orchestra
# Conductor: Karl Böhm
# Vinyls (1966/67)
# Number of Discs: 3
# Format: Flac
# Label: Philips
# DR-Analysis: DR 16
# ASIN CD: B000025ESY
# Size: 2.77 GB
# Scan: yes
# Server: FF
Das Rheingold received its premiere at the National Theatre in Munich on 22 September 1869, with August Kindermann in the role of Wotan, Heinrich Vogl as Loge, and Karl Fischer as Alberich. Wagner wanted this opera to be premiered as part of the entire cycle, but was forced to allow the performance at the insistence of his patron King Ludwig II of Bavaria. The opera received its premiere as part of the complete cycle on 13 August 1876, in the Bayreuther Festspielhaus.
Although Das Rheingold comes first in the sequence of Ring operas, it was the last to be conceived. Wagner’s plans for the cycle grew backwards from the tale of the death of the hero Siegfried, to include his youth and then the story of the events around his conception and of how the Valkyrie Brűnnhilde was punished for trying to save his parents against Wotan’s instructions. So in August 1851, Wagner wrote in “Eine Mittheilung an meine Freunde” (A Communication to My Friends), “I propose to produce my myth in three complete dramas….”. However, by October, he had decided that this trilogy required a prelude and the text of “Eine Mittheilung” was duly altered to reflect the change. To the sentence quoted above he added the words, “which will be preceded by a great prelude”.
He started work on the prelude producing a three paragraph prose sketch that month, although he remained uncertain of the name, considering in turn Der Raub: Vorspiel (The Theft: Prelude), Der Raub des Rheingoldes (The Theft of the Rhinegold) and Das Rheingold (Vorspiel) (The Rhinegold (Prelude)). A letter Wagner wrote to Theodor Uhlig confirms that at this time the opera was intended to have three acts. Wagner continued to develop the text and storyline of the prelude in parallel with those of Die Walküre. The prose draft of Das Rheingold was completed between 21 March and 23 March 1852 and its verse draft between 15 September and 3 November. A fair copy of the text was finshed by 15 December.
During the early years of the 1850s Wagner produced some musical sketches for parts of the Ring and noted down various motifs that were to be used in the work. Of particular note is 5 September 1853; Wagner claimed in his autobiography Mein Leben that on this date the musical idea came to him while he was half asleep in a hotel in La Spezia in Italy, but this has been disputed by Deathridge and others.
There also exist three sets of isolated musical sketches for Das Rheingold which were composed between 15 September 1852 and November 1853. The first of these was entered into the verse draft of the text, the second into Wagner’s copy of the 1853 printing of the text; the third was written on an undated sheet of music paper. All three were subsequently used by Wagner.
Proper sequential development of the score started on 1 November 1853. By 14 January, Wagner had completed the first draft of the opera on between two and three staves. The next stage involved the development of a more detailed draft that indicated most of the vocal and instrumental details. This was completed by 28 May. In parallel with this Wagner started work on a fair copy of the score on 15 February, a task he completed on 26 September 1854, by which time he had also started work on the sketches of Die Walküre. (Wikipedia)
Analyzed folder: /Users/alfredo/Desktop/ HiResMusic/96k Wagner Ring/96k Wagner Ring Boehm/1 Das Rheingold Boehm
DR Peak RMS Filename
DR16 -0.48 dB -21.96 dB Das Rheingold Boehm – SideA.wav
DR17 -0.09 dB -22.91 dB Das Rheingold Boehm – SideB.wav
DR16 -0.38 dB -22.02 dB Das Rheingold Boehm – SideC.wav
DR17 -0.02 dB -22.24 dB Das Rheingold Boehm – SideD.wav
DR17 -0.00 dB -21.95 dB Das Rheingold Boehm – SideE.wav
DR15 -0.20 dB -21.02 dB Das Rheingold Boehm – SideF.wav
Number of files: 6
Official DR value: DR16
- Performer: Theo Adam, Birgit Nilsson, Helga Dernesch, Dorothea Siebert, Anja Silja, Annelies Burmeister, Ruth Hesse, Vera Soukupová, Hermin Esser, Erwin Wohlfahrt, Martti Talvela, Kurt Böhme, Gustav Neidlinger, Gerd Nienstedt, Wolfgang Windgassen, Liane Synek, Gertraud Hopf, Elisabeth Schärtel, James King, Sieglinde Wagner, Leonie Rysanek, Sona Cervena, Danica Mastilovic, Erika Köth, Marga Höffgen, Josef Greindl, Martha Mödl, Ludmila Dvoráková, Thomas Stewart
- Orchestra: Bayreuth Festival Orchestra
- Conductor: Karl Böhm
- RCM: Okki Nokki
- TT: Clearaudio Champion Level II
- System: Special Edition Denon DL 103
- Phono stage: Pro-Ject Phono Box II
- Pre Amp: Unison Research Unico Pre (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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