German Opera Choruses
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart, Richard Wagner, Carl Maria von Weber, Ludwig van Beethoven, (Carl) Otto (Ehrenfried) Nicolai
Label: Philips
Magazine Review Date: 4/1990
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 422 410-2PH
Tracks:
| Composition | Artist Credit |
|---|---|
| (Der) Freischütz, Movement: Was gleicht wohl auf Erden (Huntsmen's Chorus) |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Lustigen Weiber von Windsor, '(The) Merry Wives of Windsor', Movement: O süsser Mond! |
(Carl) Otto (Ehrenfried) Nicolai, Composer
(Carl) Otto (Ehrenfried) Nicolai, Composer Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Zauberflöte, '(The) Magic Flute', Movement: O, Isis und Osiris (chorus) |
Wolfgang Amadeus Mozart, Composer
Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden Wolfgang Amadeus Mozart, Composer |
| Fidelio, Movement: O, welche Lust! |
Ludwig van Beethoven, Composer
Leipzig Radio Chorus Ludwig van Beethoven, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Der) Fliegende Holländer, '(The) Flying Dutchman', Movement: Summ und Brumm |
Richard Wagner, Composer
Dagmar Pecková, Mezzo soprano Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Der) Fliegende Holländer, '(The) Flying Dutchman', Movement: Steuermann, lass die Wacht |
Richard Wagner, Composer
Dagmar Pecková, Mezzo soprano Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Meistersinger von Nürnberg, '(The) Masters, Movement: Wach auf! es nahet gen den Tag |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Tannhäuser, Movement: Freudig begrüssen |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Tannhäuser, Movement: Beglückt darf nun (Pilgrims' Chorus) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Lohengrin, Movement: Treulich geführt (Wedding March) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Lohengrin, Movement: Gesegnet soll sie schreiten (Procession) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Parsifal, Movement: Durch Mitleid wissend... (Lord's supper scene) |
Richard Wagner, Composer
Dresdner Kapellknaben Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
Composer or Director: Wolfgang Amadeus Mozart, Richard Wagner, Carl Maria von Weber, Ludwig van Beethoven, (Carl) Otto (Ehrenfried) Nicolai
Label: Philips
Magazine Review Date: 4/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 422 410-4PH
Tracks:
| Composition | Artist Credit |
|---|---|
| (Der) Freischütz, Movement: Was gleicht wohl auf Erden (Huntsmen's Chorus) |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Lustigen Weiber von Windsor, '(The) Merry Wives of Windsor', Movement: O süsser Mond! |
(Carl) Otto (Ehrenfried) Nicolai, Composer
(Carl) Otto (Ehrenfried) Nicolai, Composer Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Zauberflöte, '(The) Magic Flute', Movement: O, Isis und Osiris (chorus) |
Wolfgang Amadeus Mozart, Composer
Leipzig Radio Chorus Silvio Varviso, Conductor Staatskapelle Dresden Wolfgang Amadeus Mozart, Composer |
| Fidelio, Movement: O, welche Lust! |
Ludwig van Beethoven, Composer
Leipzig Radio Chorus Ludwig van Beethoven, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Der) Fliegende Holländer, '(The) Flying Dutchman', Movement: Summ und Brumm |
Richard Wagner, Composer
Dagmar Pecková, Mezzo soprano Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Der) Fliegende Holländer, '(The) Flying Dutchman', Movement: Steuermann, lass die Wacht |
Richard Wagner, Composer
Dagmar Pecková, Mezzo soprano Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| (Die) Meistersinger von Nürnberg, '(The) Masters, Movement: Wach auf! es nahet gen den Tag |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Tannhäuser, Movement: Freudig begrüssen |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Tannhäuser, Movement: Beglückt darf nun (Pilgrims' Chorus) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Lohengrin, Movement: Treulich geführt (Wedding March) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Lohengrin, Movement: Gesegnet soll sie schreiten (Procession) |
Richard Wagner, Composer
Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
| Parsifal, Movement: Durch Mitleid wissend... (Lord's supper scene) |
Richard Wagner, Composer
Dresdner Kapellknaben Leipzig Radio Chorus Richard Wagner, Composer Silvio Varviso, Conductor Staatskapelle Dresden |
Author: Ivan March
Most collections of opera choruses are assembled from complete sets, but this one has been specially recorded and is undoubtedly distinctive. It opens with a magnificent account of Weber's Huntsmen's chorus from Der Freischutz, with the most sophisticated use of dynamic light and shade, then moves on to the magical ''O susser Mond'' from Die lustigen Weiber von Windsor, which is exactly like the opening of the famous Overture, only sounding even more magically atmospheric with the voices added. Here the warmly resonant acoustics of Dresden's Lukaskirche are surely ideal, as they are in the later excerpts from Die Meistersinger, Lohengrin and Parsifal, whereas perhaps the reverberation is a shade too excessive in the Weber item and the Sailors' chorus, ''Steuemmann! Lass die Wacht'' from Der fliegende Hollander which could use a shade more bite (the singer's enunciation is admirable).
However, in Beethoven's ''O welche Lust'' from Fidelio. movingly (if sombrely) sung, with the individual prisoners' solos included to eloquent effect, the acoustics again seem just right, if more evocative of the dungeon than the open air. Elsewhere one is especially struck by the beauty of the female voices, first as the spinners from Der fliegende Hollander, then later when they add a radiant glow to the second of the two Pilgrims' choruses fron Tannhauser. They also bring a striking freshness to the Bridal chorus from Lohengrin, which can too easily sound fruity. The two excerpts from Die Meistersinger recall the expansive climax of the Overture and the lovely horn chorale in the Act 3 Prelude. Finally comes the glorious Grail chorus from Parsifal, wonderfully expansive, with the Dresden Boys' Choir adding to the rich colouring.
Obviously great care has been taken to make this a memorable concert. The solo contributions from members of the chorus are admirable, while the obviously dedicated Silvio Varviso paces each excerpt perceptively, and achieves the spontaneity of the opera stage with no feeling of the limitations of the studio. Full translations are included. Technically the sound throughout is very beautiful and shows that it is possible to make a digital recording with the full ambient effect we used to associate with the analogue era.'
However, in Beethoven's ''O welche Lust'' from Fidelio. movingly (if sombrely) sung, with the individual prisoners' solos included to eloquent effect, the acoustics again seem just right, if more evocative of the dungeon than the open air. Elsewhere one is especially struck by the beauty of the female voices, first as the spinners from Der fliegende Hollander, then later when they add a radiant glow to the second of the two Pilgrims' choruses fron Tannhauser. They also bring a striking freshness to the Bridal chorus from Lohengrin, which can too easily sound fruity. The two excerpts from Die Meistersinger recall the expansive climax of the Overture and the lovely horn chorale in the Act 3 Prelude. Finally comes the glorious Grail chorus from Parsifal, wonderfully expansive, with the Dresden Boys' Choir adding to the rich colouring.
Obviously great care has been taken to make this a memorable concert. The solo contributions from members of the chorus are admirable, while the obviously dedicated Silvio Varviso paces each excerpt perceptively, and achieves the spontaneity of the opera stage with no feeling of the limitations of the studio. Full translations are included. Technically the sound throughout is very beautiful and shows that it is possible to make a digital recording with the full ambient effect we used to associate with the analogue era.'
German Opera Choruses
German Opera Choruses
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