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Wagner: Lohengrin

Box Set

Richard Wagner (Composer), Sir Georg Solti (Conductor), Vienna Philharmonic Orchestra (Orchestra), Format: Audio CD

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Audio CD, Box set, October 25, 1990

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Wiener Philharmoniker
62
Audio CD
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Dietrich Fischer Dieskau
110
Audio CD
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Elisabeth Grümmer
64
Audio CD
18 offers from $13.99
Plácido Domingo
67
Audio CD
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Giuseppe Verdi
74
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Richard Wagner
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Audio CD
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Track Listings

Disc: 1

1	Lohengrin - Orchestervorspiel
2	Lohengrin - Act One - Hort! Grafen, Edle, Freie Von Brabant!
3	Lohengrin - Act One - Dank, Konig, Dir, Dab Du Zu Richten Kamst!
4	Lohengrin - Act One - Seht Hin! Sie Naht, Die Hart Beklagte!
5	Lohengrin - Act One - Einsam In Truben Tagen
6	Lohengrin - Act One - Mich Irret Nicht Ihr Traumerischer Mut
7	Lohengrin - Act One - Wer Hier Im Gotteskampf Zu Streiten Kam
8	Lohengrin - Act One - Nun Sei Bedankt, Mein Lieber Schwan!
9	Lohengrin - Act One - Zum Kampf Fur Eine Magd Zu Stehn
10	Lohengrin - Act One - Nun Hort! Euch, Volk Und Edlen, Mach'ich Kund
11	Lohengrin - Act One - Nun Horet Mich Und Achtet Wohl
12	Lohengrin - Act One - Durch Gottes Sieg Ist Jetzt dein Leben Mein

Disc: 2

1	Lohengrin - Act Two - Einleitung
2	Lohengrin - Act Two - Erhbe Dich, Genossin Meiner Schmach!
3	Lohengrin - Act Two - Du Wide Seherin
4	Lohengrin - Act Two - Euch Luften, Die Mein Klagen
5	Lohengrin - Act Two - Elsa!
6	Lohengrin - Act Two - Entweihte Gotter! Helft Jetzt Meiner Rache!
7	Lohengrin - Act Two - Wie Kann Ich Solche Huld Dir Lohnen

Disc: 3

1	Lohengrin - Act Two - In Fruhn Versammelt Uns Der Ruf
2	Lohengrin - Act Two - Des Konigs Wort Und Will' Tu' Ich Euch Kund
3	Lohengrin - Act Two - Gesegnet Soll Sie Schreiten
4	Lohengrin - Act Two - Zuruck Elsa! Nicht Langer Will Ich Dulden
5	Lohengrin - Act Two - O Konig! Trugbetorge Fursten! Haltet Ein!
6	Lohengrin - Act Two - Welch Ein Geheimnis Mub Der Held Bewahren?
7	Lohengrin - Act Two - Mein Held, Entgegne Kuhn Dem Ungetreuen!

Disc: 4

1	Lohengrin - Act Three - Orchestervorspiel
2	Lohengrin - Act Three - Scene 1 - Treulich Gefuhrt Ziehet Dahin
3	Lohengrin - Act Three - Scene 1 - Das Sube Lied Verhallt
4	Lohengrin - Act Three - Scene 1 - Fuhl' Ich Zu Dir So Sub Mein Herz Entbrennen
5	Lohengrin - Act Three - Scene 1 - Atmest Du Nicht Mit Mir Die Suben Dufte?
6	Lohengrin - Act Three - Scene 1 - Hochstes Vertraun Hast Du Mir Schon Zu Danken
7	Lohengrin - Act Three - Scene 1 - Weh, Nun Ist All Unser Gluck Dahin!
8	Lohengrin - Act Three - Scene 2 - Heil Konig Heinrich!
9	Lohengrin - Act Three - Scene 2 - Macht Platz Dem Helden Von Brabant!
10	Lohengrin - Act Three - Scene 2 - In Fernem Land
11	Lohengrin - Act Three - Scene 2 - Mir Schwankt Der Boden! Welche Necht!
12	Lohengrin - Act Three - Scene 2 - Mein Lieber Schwan!

Editorial Reviews

Product description

4 compact disc

Amazon.com

Sir George Solti's renditions of Wagner's operas often defined the standard interpretation practice in the post-World War II musical world, and he is at his best in this late 1980s digitally mastered recording partnered with his long-time collaborators, the Vienna Philharmonic--perhaps the most emotionally satisfying orchestra in the world for these challenging scores. Domingo, in the title role, shows himself as a true Heldentenor (i.e. a baritone with high notes), and his earlier weakness in German diction is not apparent. Norman's Elsa is musically perfect though at times a bit chilly and distant. The mature compassion of the role of Henry the Fowler is admirably captured by Sotin. The chorus work is first rate, and the excellent cast is rounded out by Randova and the vigorous Nimsgern as the husband/wife villains. --Christian C. Rix

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 5.5 x 4.94 x 0.45 inches; 9.6 ounces
Manufacturer ‏ : ‎ London / Decca
SPARS Code ‏ : ‎ DDD
Date First Available ‏ : ‎ February 10, 2007
Label ‏ : ‎ London / Decca
ASIN ‏ : ‎ B0000041TF
Number of discs ‏ : ‎ 4

Best Sellers Rank: #123,998 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #67 in Opera & Classical Vocal Voices
- #12,575 in Classical (CDs & Vinyl)

Customer Reviews:
40

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4.3 out of 5

40 global ratings

2 star

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rude man

Got even better after hearing the CD's.

Reviewed in the United States on April 8, 2020

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I first heard this performance via a streaming service. The sound was poor and I unfairly blamed Domingo and Norman for less than fully comprehensible German. Well, I was wrong; the cd's revealed otherwise. The two did about the best job imaginable. Voices? Grand. Domingo is not Huthaus and Norman is not Flagstad but if you think you're going to find a better performance post-1970 or so you're probably kidding yourself. Hans Sotin is always spectacular IMO. Hear him again in Bernstein's Tristan & you'll get the idea.

Beautifully and intelligently conducted by Solti with the the magnificent Wiener Philharmoniker and chorus of the Wiener Staatsopernchor. London came up with great sound, and BTW there is a newer remastered issue bwhich can't be worth the 20% markup; this sound is excellent. As they say, "A Real Buy!".

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Mark DeWeese

Five Stars

Reviewed in the United States on September 21, 2015

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Norman and Domingo are both excellent, as are the conducting and recording

2 people found this helpful

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BDSinC

A moving performance

Reviewed in the United States on July 9, 2003

I have many recordings of various Wagner operas, but of this opera I have but two: this recording and one with Grummer singing Elsa. I have to give this one the thumbs up. I have borrowed others from the public library, but these two are the ones that really are the best. Then, for those who are really into super pronounced German, why would I choose this one, where the occasional flaw occurs? Simple, it is beautifully song. Wagner loved beautiful singing, and Bellini was one of his favorite composers. He knew beautiful singing when he heard it, and the "bark" that has come to represent the correct way of singing his operas at last is finally disappearing. Now we are being treated to wonderful legato lines, even the correct use of portamento, which in the past was seen as a "crime against Wagner." Wagner wrote those things into his music, as he wrote trills into Brunhilde's music in Walkure (trills one NEVER hears song, not ever, not even by the best of the Brunhildes). While we would be aghast if someone didn't sing a good trill or have a beautiful legato line singing "Norma", we have allowed ourselves, even decided for ourselves, that singers who sing Wagner should stray as far afield from "Bel Canto" principles of singing as possible. That is exactly the opposite of what Wagner ever wanted, even in his last opera. Beautiful singing was what he was all about. Finally, we hear a tenor with a sensuous quality, rather than a rigid loud overblown chewed out forced tone. We have an Elsa who has a sweet, delicate caressing warm delivery rather than a hard pressed shrill sound. Two singers actually caressing the music as Wagner was want to have in his singers (read accounts by Lilli Lehmann if you doubt me, as she created a few roles in his Ring Cycle), and finally the delicate magic of the score comes forth.
I happen to like Solti more than I like other conductors, and the reason is he is more immediate, less fussy over details that simply don't need to be spotlighted. He gives an urgency to the music he conducts, and well, for me, that is more moving than all the academic readings one often finds.
My only complaint is with the Ortrude. Usually the darker men's voices in Wagner are sung well, and with warmth. However, I have never seen or heard a performance in all my life of any of his operas where the mezzo part is really that fulfilling to hear. If the mezzo has good low notes, her upper notes are too shrill. Quite often the voice is simply shrill and tight feeling. Well, we are greeted here with that same sort of sound. To me, and this is only my view, Ortrude is the embodiment of EVIL. Her voice should be extremely dark and menacing. Though shrillness has its place in certain moments, I really don't find it suited to her invocation to the old gods. Here the voice should be full, powerful, wild, and cutting with darkness and evil, not screaming and strained.
I would much rather, and I would wish recording people and conductors would consider it, that a very deep dark contralto with ringing high notes sing these roles. Wagner never wrote very high for such singers, maybe an A or a touched B, nothing more. Schumann-Heink was supposed to be unbeatable in this role, as she was in Erda. In this recording, as with Norman's recording of Strauss's Salome, it is so important that the mezzo sound darker than she does. It is also important their voice be as large as hers. If not, we end up with the very thing that is my biggest complaint with this recording, and all recordings of this opera: the evil Ortrude, the person who caused the entire drama to happen in the first place, sounds like a cross infant against a lush and "not so delicate" maid.
All this taken into account, the recording is for me one of the most beautiful of one of Wagner's most beautiful scores. I don't think anyone would be disappointed in it, if they listened to it striving to feel the emotions, and got over the little nit picky details that so often make for a sad listening experience. And we should stop comparing operas recorded of Wagner with those of the "golden age." Excepting the very old, none of us were alive to witness those performances, and when we listen to pirates of live performances of those times, we will find those "nearly perfect performances" are anything but. They are filled with cuts, mistakes, very bad intonation (outright bad singing for the most part, particularly with the men, who bark out the words with clear diction without any consideration of the pitch they are supposed to be singing). Let us relish in the here and now, and the beauties that our artists share with us. Their performances, and it is evident in this recording, come from a very real love for this music.

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Mogulmeister

A successful set overall marred by one horrific casting mistake

Reviewed in the United States on April 8, 2023

Lohengrin was the last of the Wagner canon operas that I got to know, and to my pleasant surprise I feel it punches above its order of appearance. The story moves me, and the music is wonderful. This Solti set was the first one I purchased, and overall it's successful. Solti's reputation as a Wagnerian speaks for itself, and he and the VPO do a marvelous job. As does most of the cast. But there is one horrific casting mistake which really mars this set, and it makes it hard for me to listen to--as much as I think it's a success overall. And that would be the King Heinrich of Dietrich Fischer-Dieskau. This set was recorded in I believe 1984 or thereabouts, which is essentially at the end of Fischer-Dieskau's great career. I consider myself privileged to have DFD's EMI Icon series box set with so many of his great lieder recordings. But by 1984, his voice had become wobbly and unreliable, and quite frankly he should not be singing in Lohengrin at this point in his career. There are moments in his performance, particularly in Act I, where I can only imagine what Solti and the rest of the cast had to be thinking while listening to DFD warble away. It's jarring and it really prevents me from being able to enjoy this set, as good as the rest of it is. And arguably King Heinrich is one of the 3 most important parts in this opera, so this is a disastrous casting decision. It would be really interesting to know the backstory behind it. Regardless, what we're left with is this artifact of the decline of DFD's voice, and it's sad. He shouldn't have said yes to this recording.

I have come to enjoy Kempe's set much better. Again, the VPO is at hand and they play this music just so beautifully. I'm quite partial to Kempe as a conductor and think he was quite underrated. And I really wish I had been able to hear him live - his studio recordings of Dvorak's 9th and Brahms' 4th symphonies are very impressive. Kempe's cast in Lohengrin (which includes DFD 20+ years earlier) is a strong one. So that's my go-to set. And many believe Kempe's Lohengrin is as good a set as one could ask for.

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Box Set

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Disc: 1

Disc: 2

Disc: 3

Disc: 4

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