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Placido Domingo, Antonio Pappano - Wagner: Scenes from the Ring (2002)

21-04-2016, 15:56
Classical Music | FLAC / APE

Title: Wagner: Scenes from the Ring
Year Of Release: 2002
Label: EMI Classics
Genre: Classical
Quality: FLAC (log,image+cue)
Total Time: 01:09:54
Total Size: 315 Mb


Siegfried, opera, WWV 86c
01. Nothung! Nothung! Neidliches Schwert!
02. Was am besten er kann...Hoho! Hohei! Schmiede, mein Hammer, ein hartes Schwert!
03. Daß der mein Vater nicht ist (Forest murmurs)
04. In der Höhle hier lieg' auf dem Hort!
05. Nun sing! Ich lausche dem Gesang

Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d
06. Tagesgrauen (Daybreak)
07. Zu neuen Taten, teurer Heide
08. Siegfrieds Rheinfahrt
09. Brünnhilde, heilige Braut!
10. Trauermarsch (Funeral March)

Placido Domingo is a phenomenon. He has preserved not only the beauty, flexibility, and flawless production of his voice over a career spanning four decades, but also his eagerness for new adventures and challenges. To several Wagnerian roles he performed recently, he has now added Siegfried, at least on record (having first tried out the role on his successful Wagner Love Duets). This disc proves that his vocal power is undiminished, while his ability to create and project character keeps gaining depth and conviction. That said, it cannot be denied that he is not a true "Heldentenor," vocally or temperamentally. Thus, one misses the unbridled boyish glee in the sword-forging scene, despite the ringing high A's.
However, his response to the Forest Bird is exuberant, his duet with Brunnhilde ardent and ecstatic. The lyrical, introspective passages--like his musings about his mother and his dying farewell--are most moving and persuasive. He is splendidly supported by Violeta Urmana, a dark-voiced, passionate Brunnhilde; Natalie Dessay, whose Forest Bird laughs merrily; and David Cangelosi, who makes Mime's devious villainy a bit too obvious. Since in Wagner the orchestra is almost as important as the singers, the disc includes several instrumental sections, and the playing is wonderful, though almost inaudible in the very soft passages. The wind soloists are grand, the forest murmurs, the Rhine swells and glitters, and the Funeral March is majestic. Since there are no set pieces in these through-composed operas, a feeling of disjointedness is inevitable, and the transitions between scenes do not really work. --Edith Eisler

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tranquilo   User offline   21 April 2016 20:30

Please, reup Uploaded. Thanks.

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tranquilo   User offline   22 April 2016 11:44

Many Thanks.

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