Wagner Meistesinger

Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity.

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.

When Richard Wagner failed to have his one-act version of Der fliegende Holländer staged at the Paris Opera, the cash-strapped composer sold a synopsis of the plot, written in broken French. This was fashioned into a proper libretto, which was then set to music by Pierre-Louis Dietsch, who enjoyed 11 performances of Le Vasseau fantôme before it was pulled from the repertoire in 1843. Ironically, Wagner's success with Der fliegende Holländer in Dresden happened shortly after that, and the expanded three-act version has remained an essential part of Wagner's canon.

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.

Wagner's stage festival in the recording of a production from the Metropolitain Opera New York. The title role is brilliantly starred by Siegfried Jerusalem, and as Kundry you can experience Waltraud Meier, who is outstanding in her performance and singing. Bernd Weikl, Kurt Moll and Franz Mazura stand by the two main roles and make this DVD - one of the few recordings of the opera on this medium - a must for every opera lover.

Janowski's unfussy, clearly laid out performances, with the Dresden Staatskapelle on superlative form, may lack the sweep and energy of Solti's, or the compelling beauty of Karajan's, but they still have much to recommend them… Jessye Norman, then at the height of her vocal powers, is a rich-toned Sieglinde.