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: 5
# Format: Flac
# Label: Philips
# DR-Analysis: DR 15
# ASIN CD: B000025ESY
# Size: 5.0 GB
# Scan: yes
# Server: FF
Wagner’s Götterdämmerung: The greatest test in opera for singers, conductor, orchestra – and audience.
It lasts nearly seven hours; its subject is the end of the world. No composer ever achieved immortality by failing to think big, but few concepts could be more awe-inspiring than Wagner’s Götterdämmerung (The Twilight of the Gods), the climax of the Ring cycle tetralogy, which comes to the Proms next week. It is arguably Wagner’s greatest opera, the one in which the composer’s blend of seamless music and drama hits home most strongly. And its message about greed, corruption and the power of love is as relevant now as it was in Wagner’s time.
One of the Ring operas has been performed during each of the past three Proms seasons, and their reception has been phenomenal. With “concert stagings” that are gimmick-free and immediate, the setting has proved ideal. After all, how does anyone convincingly stage an opera twice as long as most such works and full of enchanted mountains, panoramic river journeys, invisibility helmets and conflagrating mythical empires?
The composer Edvard Grieg attended Götterdämmerung’s 1876 premiere at Bayreuth and declared, in view of the crude production, that it would be best to let the audience “use its imagination to create devils and demons within its own mind”. The philosopher Nietzsche described the cycle in performance, its subtleties grounded by horned helmets, horses and artificial rocks, as “fantasy in chains”.
Thrilling though the other Ring Proms have been, Götterdämmerung could top the lot. The evening features the American soprano Christine Brewer as Brünnhilde (hers is one of today’s great Wagnerian voices), and the Danish tenor Stig Andersen, who has sung Siegfried at the Met in New York and other top venues. Sir John Tomlinson is Hagen, the adversary who ultimately kills Siegfried; he dominates Wagner’s bass roles, to glorious effect. The conductor Donald Runnicles wields an expert baton over the BBC Symphony Orchestra, and this British-born maestro, music director of the San Francisco Opera since 1992, has the respect and admiration of Wagner fanatics everywhere.
The Proms offer another plus: Promenaders can turn up on the day and hear Götterdämmerung for £5. Normally, you can’t get in to a Wagner opera for love or money. Covent Garden’s forthcoming Ring cycle is long sold out. When the Mariinsky Theatre performed the tetralogy in Cardiff last year, all tickets were snapped up within four hours of going on sale. The annual festival in Wagner’s theatre at Bayreuth has a waiting list for tickets of more than a decade.
What is so special about this stuff? Well, if it were a drug, it would probably be banned. It’s the closest thing opera offers to an acid trip. Wagner can force the listener into a kind of superconsciousness – a relationship with time, space and sound that’s far removed from everyday experience. He weaves a spell of uninterrupted musical intensity so overwhelming that, for those who surrender to it – and it’s hard not to – it can become almost addictive. Nothing else matches its impact: therefore you simply have to go back for more.
And the Ring cycle’s scale is unprecedented. Despite its length, every moment is laden with significance in the unfolding story. The whole thing surges onward with an inevitability that doesn’t require the suspension of disbelief as much as the suspension of outside life for its duration.
“You are a god-man, the true artist by God’s grace who has brought the sacred fire from heaven to earth to cleanse, sanctify and redeem it!” wrote the original Wagnermane to the composer after hearing Götterdämmerung for the first time – the infatuated King Ludwig II of Bavaria. “Never before have I been transported into such a state of inebriation, such unprecedented sanctity, so filled with such an unprecedented enthusiastic sense of joy…” The young king’s sanity was shaky to say the least; nevertheless, most of those who have been bitten by the Wagner bug would acknowledge sharing at least a couple of those sentiments.
Götterdämmerung is the most human of the Ring’s four operas about gods and families, love, corruption and greed. Its central character is Brünnhilde, the former warrior-goddess or Valkyrie. In the story so far, she has been punished at the end of opera number two, Die Walküre, for disobedience to her father, the god Wotan; he had put her to sleep inside a circle of fire, to await awakening by a man brave enough to reach her. Siegfried duly arrived at the end of opera No 3 to carry her off in a flood of erotic rapture. (independent.co.uk)
Analyzed folder: /Users/alfredo/Desktop/ HiResMusic/96k Wagner Ring/96k Wagner Ring Boehm/4 Goetterdaemmerung Boehm
DR Peak RMS Filename
DR15 -0.39 dB -20.37 dB Goetterdaemmerung Boehm – SideA.wav
DR17 -0.91 dB -22.33 dB Goetterdaemmerung Boehm – SideB.wav
DR14 -1.43 dB -20.62 dB Goetterdaemmerung Boehm – SideC.wav
DR15 -0.41 dB -19.80 dB Goetterdaemmerung Boehm – SideD.wav
DR15 -0.61 dB -19.71 dB Goetterdaemmerung Boehm – SideE.wav
DR13 -0.00 dB -17.28 dB Goetterdaemmerung Boehm – SideF.wav
DR14 -0.68 dB -18.48 dB Goetterdaemmerung Boehm – SideG.wav
DR15 -0.22 dB -19.75 dB Goetterdaemmerung Boehm – SideH.wav
DR16 -0.28 dB -20.88 dB Goetterdaemmerung Boehm – SideI.wav
DR14 -0.26 dB -18.82 dB Goetterdaemmerung Boehm – SideJ.wav
Number of files: 10
Official DR value: DR15
- 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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