Wagner Wesendonck Lieder Preludes & Overtures
Measha Brueggergosma
Description:Soprano Measha Brueggergosman, “an artist of striking depth and individuality” San Francisco Chronical) joins Franz Welser- Möst and Cleveland’s legendary orchestra “in a program that likely made legions of new Wagner fans...” (The Plain Dealer, Cleveland). Deutsche Grammophon continues its successful relationship with the acclaimed Cleveland Orchestra and its chief conductor Franz Welser-Möst with this thrilling all-Wagner album. The release of this album will tie in with Franz Welser-Möst picking up the baton as General Music Director of the Vienna State Opera.
(Dg) 4778773
Track Listing Extract:
RICHARD WAGNER: 1. Rienzi: Overture 2. Tristan und Isolde - Prelude To Act I; Liebestod 3. Lohengrin: Prelude To Act III 4. Lohengrin: Prelude To Act I 5. Wesendonck-Lieder 6. Die Meistersinger Von Nürnberg: Prelude To Act I 7. Die Walküre: The Ride Of The Valkyries
Staff Reviews
Deutsche Grammophon’s new release of Wagner orchestral works is an excellent addition to a field already crowded with fine recordings; it earns its place there owing to the individuality of vision which it has to contribute. The performers in this case are the Cleveland Orchestra with their conductor Franz Welser-Most and young Canadian soprano Measha Brueggergosman performing the Wesendonck Lieder. The other repertoire, from most of Wagner’s career, consists of the Overture to Rienzi, Prelude and Liebestod from Tristan und Isolde, Act I and III preludes from Lohengrin, die Meistersinger Overture and The Ride of the Valkyries as a rousing ending.
Welser-Most and the Cleveland orchestra create performances which avoid bombast and opt instead for consistency of tempo, care of articulation, and sense of line. In terms of traditional Wagner readings the tempi may be on the fast side but the gain in terms of overall sense of shape of line more than compensates. In the Wesendonck Lieder Brueggergosman is tonally excellent, with just the right dark sound for these often moodily ambiguous songs. She complements the orchestra well with her focus on detail of line rather than sheer weight of sound, this unity of intention communicating itself in the overall interpretation of these songs. Brueggergosman is surely well on the way to becoming one of the great singers of the future.
The recording quality is notably good, maintaining the naturally resonant sound of Severance Hall, Cleveland, without being too muddy. Much care has been taken in achieving a refined orchestral balance which greatly benefits such works as the Meistersinger Overture, with its layering of chromatic lines and reveals some particularly interesting detail in the bass which rarely seems audible in other recordings. The intonation of the violins at the highest register, unity of articulation and balance of tone in the brass section, and virtuoso playing of the winds are all shown in their best light as a result of the production— with an orchestra as good as this it is a real pleasure to be able to hear all the detail. This recording is a fine example of modern Wagner interpretation, surprising us with new details of line and colour to exciting effect in this otherwise fairly familiar repertoire.
Welser-Most and the Cleveland orchestra create performances which avoid bombast and opt instead for consistency of tempo, care of articulation, and sense of line. In terms of traditional Wagner readings the tempi may be on the fast side but the gain in terms of overall sense of shape of line more than compensates. In the Wesendonck Lieder Brueggergosman is tonally excellent, with just the right dark sound for these often moodily ambiguous songs. She complements the orchestra well with her focus on detail of line rather than sheer weight of sound, this unity of intention communicating itself in the overall interpretation of these songs. Brueggergosman is surely well on the way to becoming one of the great singers of the future.
The recording quality is notably good, maintaining the naturally resonant sound of Severance Hall, Cleveland, without being too muddy. Much care has been taken in achieving a refined orchestral balance which greatly benefits such works as the Meistersinger Overture, with its layering of chromatic lines and reveals some particularly interesting detail in the bass which rarely seems audible in other recordings. The intonation of the violins at the highest register, unity of articulation and balance of tone in the brass section, and virtuoso playing of the winds are all shown in their best light as a result of the production— with an orchestra as good as this it is a real pleasure to be able to hear all the detail. This recording is a fine example of modern Wagner interpretation, surprising us with new details of line and colour to exciting effect in this otherwise fairly familiar repertoire.
