Richard Wagner – Der Ring des Nibelungen, oh!!
Wagner - Der Ring WITHOUT WORDS.
Players – Freiheit Sinfonie Orchester
Der Ring without words, here is the details.
Is it possible to reduce the fifteen hours of music of Wagner’s Ring to the length of a single CD and at the same time dispense with the services of singers? When a record label approached Lorin Maazel with this question in Protected content , he did not hesitate, for he could still remember a comment that Wieland Wagner had made at the time of the conductor’s Bayreuth debut in Protected content “The essence of the work is to be found, after all, in the orchestra. This is the subtext, the universal subconscious that links Wagner’s characters together and that is tied to the proto-ego of the legend.” For Wagner’s grandson and co-founder of New Bayreuth, the Wagnerian orchestra is the “fountainhead” of the entire cycle.
Maazel finally understood the full import of Wieland Wagner’s comment when he conducted the first post-war production of the Ring at the Deutsche Oper in Berlin in Protected content “The orchestral score itself is the Ring, encrypted in a musical code,” the conductor explained. He was keen for audiences to decrypt this code through his “symphonic synthesis”, for which he imposed strict conditions on himself: the music had to unfold without interruption and follow the course of the drama in every detail from the opening note of Das Rheingold to the closing chord of Götterdämmerung. Every note was to be by Wagner himself, and no bridge passages were to be included in the score.
Maazel succeeded in meeting all of these self-imposed demands, and the first recording of his Ring Without Words with the Berliner Philharmoniker proved a huge success when it was released in Protected content . The work quickly became an independent concert piece, which Maazel also performed with the Pittsburgh Symphony Orchestra in Protected content , with the New York Philharmonic in Protected content Protected content with the Vienna Philharmonic in Protected content . In Protected content again conducted it with the orchestra for which he had ultimately conceived the work. As Maazel noted retrospectively, “I think that as an introduction to the Ring, this version is an unqualified success. And I am fortunate that my project was underpinned by the magnificent sound of the Berliner Philharmoniker.”
Lorin Maazel – Berliner Philharmoniker
Meeting Time & Point
1) For the early light meal (or just coffee / tea / cake) joiners (restaurant - TBA)
• Meeting Time 16:15
• Meeting Point Protected content
2) For those who would like to skip the light meal
• Meeting Time 17:45
• Meeting Point: Protected content
16:15 Meeting time for the light meal joiners
17:45 (for those who will skip group the light meal) Meeting time
17:45 Line up
18:00 Door Open
18:30 Concert Start
20:20 Concert Close
Admission: The ticket price is JPY 2,000, but by a favor of the orchestra, InterNations members are invited. FOC
Der Ring des Nibelungen
From Wikipedia, the free encyclopedia
Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring.
Wagner wrote the libretto and music over the course of about twenty-six years, from Protected content 1874. The four parts that constitute the Ring cycle are, in sequence:
• Das Rheingold (The Rhinegold)
• Die Walküre (The Valkyrie)
• Götterdämmerung (Twilight of the Gods)
Although individual works of the sequence have occasionally been performed separately, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in Protected content , beginning with Das Rheingold on 13 August and ending with Götterdämmerung on 17 August. Opera stage director Anthony Freud stated that Der Ring des Nibelungen "marks the high-water mark of our art form, the most massive challenge any opera company can undertake."