Wagner Arias
A curious collection that reveals the pros and cons of the Jones art
View record and artist detailsRecord and Artist Details
Composer or Director: Richard Wagner
Genre:
Opera
Label: Chandos Classics
Magazine Review Date: 2/2006
Media Format: CD or Download
Media Runtime: 56
Mastering:
Stereo
DDD
Catalogue Number: CHAN10286X

Tracks:
Composition | Artist Credit |
---|---|
Tannhäuser, Movement: Dich teure Halle (Elisabeth's Greeting) |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
Tannhäuser, Movement: Allmächt'ge Jungfrau (Elisabeth's Prayer) |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
Lohengrin, Movement: Einsam in trüben Tagen (Elsa's Dream) |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Starke Scheite (Brünnhildes's Immolation) |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Mein Erbe nun nehm' ich zu eigen |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Fliegt heim, ihr Raben! |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
(Der) Ring des Nibelungen: Part 4, 'Götterdämmerung', Movement: Zurück vom Ring (orchestral finale) |
Richard Wagner, Composer
Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
Tristan und Isolde, Movement: Prelude |
Richard Wagner, Composer
Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
Tristan und Isolde, Movement: Mild und leise (Liebestod) |
Richard Wagner, Composer
Gwyneth Jones, Soprano Richard Wagner, Composer Robert Paternostro, Conductor West German Radio Symphony Orchestra |
Author: John Steane
Generous tone, warm feeling, expressive colouring, ample power and range…and the ‘wobble’. But just what, exactly, is this ‘wobble’? No trouble in identifying it: it’s there in the very first notes in the recital, ‘Dich, teure Halle’. But, although the ears cannot fail to pick it up and wish it wasn’t there, the actual degree of it is not so very great. The vibrations are sometimes wider than we might wish, and more uneven; the surprising thing is that such small deviations from the desirable norm can so trouble the hearing. Next moment they won’t be there at all. This solo continues with many of its phrases entirely steady; then the momentarily irregular vibrations intrude again. Now you hear them, now you don’t. The first ‘Sei mir gegrüsst’ wobbles; the second is steady. And so forth.
Liebestod and Immolation nevertheless renew their power. She is not a prosaic singer and, even in extracts, can evoke an awareness of the mighty context. At times (the opening of the Liebestod, for instance) she infuses into the voice an almost mystical quality. This is a curious recording, a rather late attempt to make amends to this internationally acclaimed artist (then in her mid-50s) for the major companies’ disinclination to encourage her career on records after about 1970 and so ‘immortalise’ her for posterity. There’s less than an hour’s recording time here, and still less of actual singing. It was made in 1991, so I suppose that by now we are ‘posterity’. If so, I think it has to be said that posterity (jury-like) is still ‘out’.
Liebestod and Immolation nevertheless renew their power. She is not a prosaic singer and, even in extracts, can evoke an awareness of the mighty context. At times (the opening of the Liebestod, for instance) she infuses into the voice an almost mystical quality. This is a curious recording, a rather late attempt to make amends to this internationally acclaimed artist (then in her mid-50s) for the major companies’ disinclination to encourage her career on records after about 1970 and so ‘immortalise’ her for posterity. There’s less than an hour’s recording time here, and still less of actual singing. It was made in 1991, so I suppose that by now we are ‘posterity’. If so, I think it has to be said that posterity (jury-like) is still ‘out’.
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