Ludwig Weber - Opera Arias
View record and artist detailsRecord and Artist Details
Composer or Director: Giuseppe Verdi, Carl Maria von Weber, Richard Wagner, Ludwig van Beethoven, Wolfgang Amadeus Mozart, Richard Strauss, Modest Mussorgsky
Label: Testament
Magazine Review Date: 7/1999
Media Format: CD or Download
Media Runtime: 79
Mastering:
Mono
ADD
Catalogue Number: SBT1171
Tracks:
Composition | Artist Credit |
---|---|
(Die) Entführung aus dem Serail, '(The) Abduction from the Seraglio', Movement: Wer ein Liebchen hat gefunden |
Wolfgang Amadeus Mozart, Composer
Ludwig Weber, Bass Otto Ackermann, Conductor Vienna Philharmonic Orchestra Wolfgang Amadeus Mozart, Composer |
(Die) Entführung aus dem Serail, '(The) Abduction from the Seraglio', Movement: Ha, wie will ich triumphieren |
Wolfgang Amadeus Mozart, Composer
Felix Prohaska, Conductor Ludwig Weber, Bass Vienna Philharmonic Orchestra Wolfgang Amadeus Mozart, Composer |
Fidelio, Movement: Hat man nicht auch Gold |
Ludwig van Beethoven, Composer
Felix Prohaska, Conductor Ludwig van Beethoven, Composer Ludwig Weber, Bass Vienna Philharmonic Orchestra |
(Der) Freischütz |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Felix Prohaska, Conductor Ludwig Weber, Bass Vienna Philharmonic Orchestra |
(Der) Freischütz, Movement: Schweig, schweig |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Felix Prohaska, Conductor Ludwig Weber, Bass Vienna Philharmonic Orchestra |
Boris Godunov, Movement: ~ |
Modest Mussorgsky, Composer
Ludwig Weber, Bass Modest Mussorgsky, Composer Otto Ackermann, Conductor Vienna Philharmonic Orchestra |
(I) Vespri siciliani, '(The) Sicilian Vespers', Movement: ~ |
Giuseppe Verdi, Composer
Giuseppe Verdi, Composer Ludwig Weber, Bass Otto Ackermann, Conductor Vienna Philharmonic Orchestra |
(Der) Rosenkavalier, Movement: ~ |
Richard Strauss, Composer
Dagmar Hermann, Mezzo soprano Ludwig Weber, Bass Otto Ackermann, Conductor Richard Strauss, Composer Vienna Philharmonic Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Hier sitz' ich zur Wacht (Hagen's Watch) |
Richard Wagner, Composer
Ludwig Weber, Bass Richard Wagner, Composer Rudolf Moralt, Conductor Vienna Philharmonic Orchestra |
Tristan und Isolde, Movement: Tatest du's wirklich? (King Marke's monologue) |
Richard Wagner, Composer
Elisabeth Schwarzkopf, Soprano Ludwig Weber, Bass Philharmonia Orchestra Richard Wagner, Composer Wilhelm Schüchter, Conductor |
Tristan und Isolde, Movement: Ha! Ich bin's, ich bin's |
Richard Wagner, Composer
Elisabeth Schwarzkopf, Soprano Ludwig Weber, Bass Philharmonia Orchestra Richard Wagner, Composer Wilhelm Schüchter, Conductor |
Parsifal, Movement: Titurel, der fromme Held |
Richard Wagner, Composer
Issay Dobroven, Conductor Ludwig Weber, Bass Philharmonia Orchestra Richard Wagner, Composer |
Parsifal, Movement: O Gnade! Höchstes Heil! |
Richard Wagner, Composer
Issay Dobroven, Conductor Ludwig Weber, Bass Philharmonia Orchestra Richard Wagner, Composer |
Parsifal, Movement: ~ |
Richard Wagner, Composer
Ludwig Weber, Bass Richard Wagner, Composer Rudolf Moralt, Conductor Torsten Ralf, Tenor Vienna Philharmonic Orchestra |
Author: Alan Blyth
In the 20 years from 1936 to 1956, Ludwig Weber was a commanding figure in the field of German opera. As is graphically confirmed in this reissue of his superb post-war 78rpm discs, he possessed a sonorous, highly individual bass, which he used to magnificently black effect in bringing to life a whole gallery of rogues and villains, yet one he could soften to create a warmly sympathetic Gurnemanz and King Mark. Above all, his readings had real character achieved through vocal confidence and a clear articulation of the text so typical of his generation, so rare today. For instance, Weber’s Osmin and Kaspar (both arias in each case) leap from the speaker, menacingly so in the case of the villain of Der Freischutz.
Many will already have Weber’s Gurnemanz in the Knappertsbusch Parsifal, Bayreuth 1951 (Teldec, 8/93) and his benchmark Ochs in the Eric Kleiber recording of 1953 (Decca, 5/90). But it’s still good to hear the finale of Der Rosenkavalier recorded four years earlier – a true classic of subtle word-painting – and the richly rewarding and substantial souvenirs of Weber’s Gurnemanz recorded in London and Vienna in 1951, the Good Friday Music also distinguished by Torsten Ralf’s sensitive Parsifal, while Weber’s King Mark is a figure of sorrowful dignity. Hagen’s Watch is an enticing harbinger of Weber’s complete assumption, promised in September from Testament in the 1951 Bayreuth Gotterdammerung, under Knappertsbusch, a treasure locked away in the Decca archives for nigh on half a century.
In non-German repertory, Weber isn’t so successful. A noted Boris (he once sang the role at Covent Garden), what we have here is his rollicking Varlaam, unconvincing in German. His reputation as an admired Verdian isn’t entirely confirmed by his firmly sung but unidiomatically inflected ‘O tu, Palermo’. The excellent transfers confirm Walter Legge’s genius in recording voices.'
Many will already have Weber’s Gurnemanz in the Knappertsbusch Parsifal, Bayreuth 1951 (Teldec, 8/93) and his benchmark Ochs in the Eric Kleiber recording of 1953 (Decca, 5/90). But it’s still good to hear the finale of Der Rosenkavalier recorded four years earlier – a true classic of subtle word-painting – and the richly rewarding and substantial souvenirs of Weber’s Gurnemanz recorded in London and Vienna in 1951, the Good Friday Music also distinguished by Torsten Ralf’s sensitive Parsifal, while Weber’s King Mark is a figure of sorrowful dignity. Hagen’s Watch is an enticing harbinger of Weber’s complete assumption, promised in September from Testament in the 1951 Bayreuth Gotterdammerung, under Knappertsbusch, a treasure locked away in the Decca archives for nigh on half a century.
In non-German repertory, Weber isn’t so successful. A noted Boris (he once sang the role at Covent Garden), what we have here is his rollicking Varlaam, unconvincing in German. His reputation as an admired Verdian isn’t entirely confirmed by his firmly sung but unidiomatically inflected ‘O tu, Palermo’. The excellent transfers confirm Walter Legge’s genius in recording voices.'
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