Tenor Daniel Behle and two of his favourite composers: Strauss & Wagner. Richard Wagner and Richard Strauss are the two great musical fixed stars in the musical world of tenor Daniel Behle. At the 2021 Bayreuth Festival he was heard as David in the "Meistersinger", in Dortmund and soon in Amsterdam he will be heard in the title role of "Lohengrin".
Early on in his career, Wagner composed two symphonies, both of which are included on this disc. The Symphony in C, which he wrote when he was just nineteen years old, is heavily influenced by Beethoven in its character, mood, and instrumentation. Written two years later, in 1834, the Symphony in E was left unfinished, Wagner completing only the first movement and thirty bars of the second. The completed version recorded here was prepared by the conductor Felix Mottl more than fifty years later at the request of Wagners widow, Cosima. The two marches on this disc are the composers most obvious contributions to the genre of pomp and circumstance.
Parsifal (WWV 111) is an opera in three acts by Richard Wagner. It is loosely based on Parzival by Wolfram von Eschenbach, a 13th-century epic poem of the Arthurian knight Parzival (Percival) and his quest for the Holy Grail (12 ?.). Wagner first conceived the work in April 1857 but did not finish it until twenty-five years later. It was to be Wagner's last completed opera and in composing it he took advantage of the particular acoustics of his Bayreuth Festspielhaus. Parsifal was first produced at the second Bayreuth Festival in 1882. The Bayreuth Festival maintained a monopoly on Parsifal productions until 1903, when the opera was performed at the Metropolitan Opera in New York.
Completing their Ring cycle on Naxos, Jaap van Zweden and the Hong Kong Philharmonic Orchestra have at last released their much anticipated recording of Götterdämmerung, which proves conclusively that this enterprise was a success. There had been some concern that Wagner's tetralogy would be an insurmountable challenge for this inexperienced orchestra, and that an untried conductor and singers would be unable to give convincing performances from start to finish. Beginning with the release of Das Rheingold in 2015, which was followed by Die Walküre in 2016 and Siegfried in 2017, the performances showed increasing confidence and commitment, not least from van Zweden, who had planned this project since he began his tenure with the orchestra in 2012, but also from the orchestra, which provided consistently solid playing and many moments of sheer brilliance.
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon
All of Wagner’s operas require a sure hand in the pit: no run-of-the-mill répétiteur will do. But two works, in particular, depend on the conductor as much as anyone on stage for success in performance Tristan and Parsifal. By choosing these two for the first complete Wagner dramas he’s committed to disc, Thielemann is letting us know just how important Wagner’s music is to him and how seriously he wants to be taken as a Wagner interpreter. With this new Parsifal, the conductor demonstrates that he’s a Wagnerian with a point of view, and a master of the composer’s huge musicodramatic structures.
"Musikalisch dichte, klanglich prächtig ausbalancierte und das Primat der Sänger wahrende Aufnahme, deren Schönheit aus der Gesamtwirkung resultiert…Im Gesamteindruck setzt diese Aufnahme große Wagner-Tradition mit großer Bestimmtheit und Überzeugungskraft fort." ~Hermes Opernlexikon