Wagner: Lohengrin | 
 enlarge | Creators: Kurt Moll, Richard Wagner, Claudio Abbado, Vienna Philharmonic Orchestra, Vienna State Opera Choir Concert Association, Cheryl Studer, Amy-linda Domaracki, Andreas Schmidt, Bojidar Nikolov, Claudio Otelli, Elisabeth Mach, Franz Kasemann, Gretchen Eder, Hartmut Welker, Ingrid Sieghart, Marianne Sattmann, Peter Koves, Renate Hasler
Label: Dg Imports
Category: Music
List Price: $59.98
Buy New: $44.92
You Save: $15.06 (25%)
New (15) Used (5) from $29.99
Rating:  7 reviews
Sales Rank: 213817
Format: Import
Media: Audio CD
Discs: 3
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 028943780827
EAN: 0028943780827
ASIN: B000001GJ2
Release Date: January 17, 1995
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Vorspiel | | • | Act 1. Scene 1. Hoert! Grafen, Edle, Freie von Brabant! | | • | Act 1. Scene 1. Dank, Koenig, dir, dass du zu richten kamst! | | • | Act 1. Scene 2. Seht hin! Sie naht, die hart Beklagte! | | • | Act 1. Scene 2. Einsam in trueben Tagen | | • | Act 1. Scene 2. Des Ritters will ich wahren | | • | Act 1. Scene 2. Ohn' Antwort ist der Ruf verhallt! | | • | Act 1. Scene 3. Nun sei bedankt, mein lieber Schwan! | | • | Act 1. Scene 3. Wenn ich im Kampfe fuer dich siege | | • | Act 1. Scene 3. Welch holde Wunder muss ich sehen? | | • | Act 1. Scene 3. Nun hoeret mich und achtet wohl | | • | Act 1. Scene 3. Durch Gottes Sieg ist jetzt dein Leben mein | | • | Act 2. Einleitung | | • | Act 2. Scene 1. Erhebe dich, Genossin meiner Schmach! | | • | Act 2. Scene 1. Was macht dich in so wilder Klage doch vergehn? |
Disc 2
| • | Act 2. Scene 1. Du wilde Seherin, wie willst du doch | | • | Act 2. Scene 2. Euch Lueften, die mein Klagen | | • | Act 2. Scene 2. Elsa! - Wer ruft? | | • | Act 2. Scene 2. Ortrud, wo bist du? | | • | Act Two; Scene III: 'Nun hort, dem Lande will er uns entfuhren!' - Nikolov / Kasemann/ Otelli/ Koves/ Welker/ Domaracki/ Sieghart/ Fischer/ Mach | | • | Act 2. Scene 3. In Fruehn versammelt uns der Ruf | | • | Act 2. Scene 3. Des Koenigs Wort und Will' tu' ich euch kund | | • | Act 2. Scene 3. Nun hoert, dem Lande will er uns entfuehren! | | • | Act 2. Scene 4. Gesegnet soll sie schreiten | | • | Act 2. Scene 4. Zurueck, Elsa! Nicht laenger will ich dulden / Scene 5. Heil! Heil dem Koenig! | | • | Act 2. Scene 5. O Koenig! Trugbetoerte Fuersten! Haltet ein! | | • | Act 2. Scene 5. Welch ein Geheimnis muss der Held bewahren? | | • | Act 2. Scene 5. Mein Held, entegegne kuehn dem Ungetreuen! |
Disc 3
| • | Act 3. Vorspiel | | • | Act 3. Scene 1. Treulich gefuehrt ziehet dahin (Brautlied) | | • | Act 3. Scene 2. Das suesse Lied verhallt; wir sind allein | | • | Act 3. Scene 2. Wie hehr erkenn' ich unsrer Liebe Wesen! | | • | Act 3. Scene 2. Hoechstes Vertraun hast du mir schon zu danken | | • | Act 3. Scene 2. Ach nein! Doch dort - der Schwan! | | • | Act 3. Scene 3. Heil Koenig Heinrich! | | • | Act 3. Scene 3. Was bringen die? Was tun sie kund? | | • | Act 3. Scene 3. In fernem Land, unnahbar euren Schritten | | • | Act 3. Scene 3. Mir schwankt der Boden! | | • | Act 3. Scene 3. Mein lieber Schwan! |
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| Similar Items:
| • | Wagner - Parsifal / Meier, Jerusalem, Hoelle, van Dam, von Kannen, Tomlinson, Berlin Phil., Barenboim | | • | Wagner: Der fliegende Hollaender | | • | Strauss - Salome / Studer, Rysanek, Hiestermann, Terfel, Bieber, A. Murray, Sinopoli | | • | Wagner - Die Meistersinger von Nurnberg / Kollo Donath Adam G. Evans Schreier Hesse Riderbusch Karajan | | • | Wagner: Tristan und Isolde |
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| Customer Reviews:
 Best since Kempe September 21, 2007
Ryan Morris (Chicago, IL)
Immediately, you are aware of the glorious sound of the Vienna Philharmonic, which seems to be taking this recording very seriously. I wasnt really a fan, as most were, of Abbado's DVD version due mainly to Domingo, preferring Levines, though the division between the two were slim. Regarding CD versions, I have always been completely in love with Kempes, which is great, especially Telramund and Ortrud by Dieskau and Christa Ludwig(I consider it to be the finest performance ever by Dieskau). This is the finest version I have heard since the Kempe and in some ways even finer, specifically, I like Cheryl Studers Elsa even more than Grummers(which is saying a lot) and I like Siegfried Jerusalems Lohengrin over Jess Thomas(which is not as shocking-though Thomas was in his short lived prime during the recording.) Jerusalem has more velvet to his voice-which is still absilutely beautifl at the time of this recording. Kurt Moll is also still his booming, cavernous self, that slighlty less so than at his prime. Orchestrally, I find myself shocked to say that Abbado does as fine a job, if not more remarkable a job than Kempe. There is really nothing to complain about. Studer gives the finest performance I have ever heard her give, basically-the stars aligned perfectly for this recording. However, it is too expensive at the moment(especially when the Kempe is only about twenty dollars. If this is released again cheaper-snatch it up, or if you come across it here from less than 40 bucks-do the same.
First act-Abbad0(though Kempes is mighty fine
Second Act-Kempe-only weak part of the abbado
Third act-about even
A Splendid Lohengrin Recording March 8, 2006
1 out of 1 found this review helpful
CAST: Kurt Moll [Heinrich der Vogler (Henry the Fowler)] ** Siegfried Jerusalem [Lohengrin] ** Cheryl Studer (soprano) [Elsa von Brabant] ** Hartmut Welker [Friedrich von Telramund] ** Waltraud Meier (mezzo-soprano) [Ortrud] ** Bojidar Nikolov [Nobleman of Brabant] ** Franz Kasemann [Nobleman of Brabant] ** Claudio Otelli [Nobleman of Brabant] ** Peter Koeves [Nobleman of Brabant] ** Amy-Linda Domaracki [Page] ** Ingrid Sieghart [Page] ** Senta Fischer [Page] ** Elisabeth Mach [Page] ** Vienna State Opera Concert Chorus [Saxon and Thuringian counts and nobles; Brabantine counts and nobles; noblewomen, pages, vassals, ladies, serfs] ** Vienna Philharmonic ** Claudio Abbado
As much as I adore the Placido Domingo/Jessye Norman/Solti studio recording of Lohengrin made in the early 90's, this 80's recording under the baton of Claudio Abbado with the Vienna Phil and starring Siegfried Jerusalem and Cheryl Studer is in itself a miraculous masterpiece. There is an innately spiritual mood in the music, and none of Abbado's usual Italian mannerisms appear. The singers, especially, are in phenomenal shape, capturing the dramatic strength and dynamics of Wagner's first true great opera. Lohengrin inspired the Bavarian King Ludwig to build a "Swan Castle" Neuschwanstein which still stands today. In this romantic opera, he evokes medieval grandeur and weaves a magic enchantement of a Germany he favored- that of kings, knighthood and esoteric philosphies. Lohengrin, son of Parsifal, meets a tragic end at the hands of the wicked Talmarund and Ortrud. But even worse is the collapse of his marriage to Elsa, whom he had championed. She loses her trust of him when he refuses to give him her name. Little does she know that he is himself under a spell- if he reveals his name (in other words, if he shows her how human and un-heroic/divine he is) he turns back into a swan. Even if all this fantasy is too much, the music of Wagner is always, deep, mystical and exciting. This recording represents the best of both the art of beautiful singing and the art of dramatic singing. Perhaps this recording is the number one Lohengrin. I highly recommend it as your first listening experience of this opera. It's nothing short of magnificent. The Vienna Phil is lush, sensual, spiritual and climatic.
Siegfried Jerusalem was past his prime at the time of this recording, but even that does not detract from his powerful performance, though, to be overly critical, there are a few times his voice is clearly under the pressure of the taxing demands of the "high tenor" part and he literally cracks his voice. But he is in character, a mature, intelligent, sensitive singer, with years of experience singing nothing but Wagner. He is sensational and his Lohengrin epitomizes the proper way of singing the role in modern times. It is only his old age that has him at a disadvantage when compared to Domingo, whose voice is fresh and bursting with energy. Nevertheless, Jerusalem seems to step up his singing at the end of the opera.
Cheryl Studer is also in her old age as a singer but is wholly committed to the musical demands of the role and she's in character. She sings with great passion, particularly in the end, but she's magnificen throughout. She's in total control and her voice is dulcet but powerful and dramatic. She is, actually, the better singer in this recording, outshining even Jerusalem's Lohengrin. She understands how Elsa is his shining star, his motivation for heroism. She is angelic but earthy. Studer is the best Elsa on record.
Kurt Moll steps up his own singing to a level of grandiose Wagnerian bass technique. He is an amazing Henry the Fowler and he commits himself to the music and the character. Waltraud Meier as Ortrud is outstanding. She not only sings with bravura, but she gets into the twisted mind set of the character. Hers is the best on record as well. Abbado is in great shape. The recording is flawless. But even this does not compare to the beauty and strength of Solti's recording with Domingo and Norman.
 Good Not Great March 5, 2006
1 out of 1 found this review helpful
Maybe I'm being biased because I only love Placido Domingo as Lohengrin. Siegfried Jerusalem was a spectacular Wagnerian singer, with a great voice, but he didn't really act his parts. Plus, this particular Lohengrin is too close to Domingo's performance in the Solti recording. If he looked just how he does in the cover, he also tries to hard to look like Domingo's versions of the Wagner heroes. Cheryl Studer is the only good one in this recording. Her voice is beautifully lyric but powerful and Waltraud Meier is terrific as the wicked sorcereses Ortrud. Kurt Moll always delights.
The music is too fast-paced. There is no genuine Wagner essence here. Abbado is an Italian conductor and not a true Wagnerian conductor. This score is out of his league as a conductor.
Deserves only 3 stars. You have to be a fan of the singers or the conductor. This is not how Wagner should be sung. Granted, it's a beautiful account. Jerusalem is great, Studer is great. Some moments are really moving.
Try the Solti Lohengrin instead with Placido Domingo and Jessye Norman.
 Pushed Tempi! October 10, 2005
Orvis M. Fuller (Granville, OH United States)
1 out of 2 found this review helpful
My biggest problem with this recording is really more a matter of taste then of any objective flaw. Abbado is consistently up tempo, which, in my opinion, does not allow the music to breathe, if you will. Just for the sake of comparison, Furtwaengler's recording of the Vorspiel lasts 9:52, Abbado's lasts 8:24. The result is that it feels hurried and ineffective.
On the other hand, Kurt Moll as Heinrich der Vogler is noble and divine, so if you like Moll as much as I do, then this recording is worth purchasing. Other noteworthy performances include Meir and Jerusalem in the title role.
Bottom line: Abbado needs to quit collecting like he has a plane to catch!
Surprise--the best Lohengrin is from a Wagner newbie September 5, 2005
Santa Fe listener
2 out of 3 found this review helpful
I really admire this set as a dramatically convincing performance with idiomatic singing throughout. It wasn't lucky on its release date, which was too close to the Colin Davis set on RCA and overshadowed by the stellar set with Domingo and Jessye Norman under Solti on London/Decca. But the Davis is ruined by Sharon Sweet as a blowzy, unsteady Elsa, despite the excellent Ben Heppner in the title role (RCA has wisely issued an excerpts CD called 'Heppner Sings Lohengrin'). The Solti is spectacular, but Domngo isn't exactly born to the German singing style, and Norman is twice the voice her part needs.
I therefore pick the Abbado for is overall musical excellence. Siegfried Jerusalem is a terrific, intelligent Lohengrin who was unfortunatley caught just past his prime. Cheryl Studer's Elsa is the best since Grummer on the classic Kempe set, and I think better. Abbado conducts with great musicality and feeling for the opera, despite never having conducted Wagner in the pit before this. The orchestra and chorus are glorious, and the sound is surpassed only by the spectacular Solti. What's not to love?
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