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Die Meistersinger Von Nurnberg Box set


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Audio CD, Box set, December 30, 2003
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$43.39 $42.99

Product Details

  • Performer: Thomas Stewart, Sándor Kónya, Gundula Janowitz, Brigitte Fassbaender, Thomas Helmsley, et al.
  • Orchestra: Bavarian Radio Symphony Orchestra
  • Conductor: Rafael Kubelík
  • Composer: Richard Wagner
  • Audio CD (December 30, 2003)
  • SPARS Code: DDD
  • Number of Discs: 4
  • Format: Box set
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: Arts Music
  • ASIN: B0000ARNET
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #78,822 in Music (See Top 100 in Music)

1. Die Meistersinger von Nürnberg, opera, WWV 96: Act 1. Scene 2. So bleibt mir einzig der Meister Lohn!
2. Die Meistersinger von Nürnberg, opera, WWV 96: Act 1. Scene 2. Seid meiner treue wohl versehen
3. Die Meistersinger von Nürnberg, opera, WWV 96: Act 1. Scene 2. Das Schöne Fest, Johannistag
4. Die Meistersinger von Nürnberg, opera, WWV 96: Act 1. Scene 2. Verzeiht, vielleicht schon ginget ihr zu weit

Editorial Reviews

Customer Reviews

4.7 out of 5 stars
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See all 11 customer reviews
Yes, even a used copy will be on the pricey side - be it the CALIG or this ARTS transfer.
Mark E. Farrington
Among stereo recordings of Die Meistersinger, I count this as the best, given my nearly 50 years of listening to recordings and attending performances of this opera.
RENS
Nobody can touch Stewart or Janowitz in the lead roles of Sachs and Eva; his rich, humane voice is alive to every nuance of the text and she soars like an angel.
Ralph Moore

Most Helpful Customer Reviews

47 of 47 people found the following review helpful By RENS on April 5, 2005
I agree with Mr. Shelton's review entirely, right down to the point at which he remarks that on the basis of this recording he bought Kubelik's Lohengrin and Parsifal recordings. I originally had the Myto version from the 90s and had no complaints about the sound. Recently I purchased the newer, remastered version on ARTS and now I know what I was missing in depth and clarity. Jochum's Berlin version for DG has many fine qualities, but Fischer-Dieskau barks his way through the part of Hans Sachs. Kubelik's Sachs is superior, as is his Walther (Placido Domingo is in lovely voice for Jochum, but he didn't have his German quite in place at that time and his Walther clearly comes from Spain).

Among stereo recordings of Die Meistersinger, I count this as the best, given my nearly 50 years of listening to recordings and attending performances of this opera. There is a rich legacy of mono recordings made from 1938 through 1958 that any lover of Die Meistersinger should investigate (e.g., the early Karl Boehm recordings, Jochum's masterful 1949 performance currently on Walhall, Van Karajan's 1951 Bayreuth performance, Knappertsbusch on DECCA in the early 50s, and Kempe on EMI). Find a copy of this Kubelik/Munich Die Meistersinger, buy it, and enjoy, enjoy, enjoy!
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42 of 49 people found the following review helpful By Mark E. Farrington on March 2, 2008
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The caption is NOT romantic hyperbole...If I could have given this set 15 or 20 "stars" on a scale of 1 to 5, I would do it. Yes, even a used copy will be on the pricey side - be it the CALIG or this ARTS transfer. But it is worth every "pfennig." (Avoid the MTYO edition: unlike the others, it is NOT based on the first-generation in-house tapes, but on a broadcast of those tapes.) And yet this might seem an unlikely choice...Kubelik was not exactly noted for his Wagner- or even for musical "focefulness" in general. But the Wagnerian "tiger" cannot devour him- it submits itself to masterful, mesmerizing conducting.

Of course, there are other great MEISTERSINGERS. I don't know them all but I can honor Kubelik's recording by comparing it to what I DO know:

1) The 1937 Toscanini Salzburg- his last complete Wagner performance and the only one ever recorded, and something unforgettable to all who were THERE. It was recorded by NBC via "Selenophone" (basically a movie soundtrack, minus the "visual"), and we can now hear it in at least passable sound - but only on the ultra-expensive, now deleted Andante set.

2) The 1944 Vienna Bohm - with very good "early tape" sound, great ensemble, rich-creamy playing from the Vienna Philharmonic, and an almost perfect cast- but marred by an excrementally bad "Walther" (whose name, out of Hans Sachsian charity, I will omit). Bohm's later live and studio MEISTERSINGERs have nowhere near the same kind of spirit. (Here I should mention Bohm's fabled Dresden MEISTERSINGER Act III, recorded by British HMV in August 1938 - the last significant, commercial pre-war Wagner recording. Acts 1 & II were planned as well, but the war intervened.
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13 of 14 people found the following review helpful By Ralph Moore TOP 500 REVIEWER on November 23, 2007
I made a point recently of listening to four versions of the sublime quintet in Act Three, as I find that this acts as a kind of touchstone for the whole performance; it has to be right or nothing else falls into place quite as it should. Two came out way in front: the famous and venerable 1931 recording conducted by Barbirolli with Schorr, Schumann and Melchior - just one of a selection of excerpts in your standard "frying tonight" sound but with superlative voices - and the version from this complete set. So if you want a complete "Meistersinger", look no further; this recording is far superior to the Solti or the Sawallisch, good as they both are. Kubelik was a kind of magician; his Mahler, his Dvorak and his Wagner (among many others) are peerless. Nobody can touch Stewart or Janowitz in the lead roles of Sachs and Eva; his rich, humane voice is alive to every nuance of the text and she soars like an angel. Konya is as good as Heppner in the Sawllisch and Solti sets and the recorded sound is extraordinarily full, clear and balanced; amazing for a studio radio broadcast. Neither Studer nor Mattila has Janowitz's poise and purity of tone; Weikl is already sounding bleaty in the Sawallisch and Van Dam left it too late; his beautiful voice has lost some of its sheen and is beginning to sound grey and underpowered. No, once you've ruled out the Jochum set, with Fischer Dieskau hopelessly overparted, barking his way through the role of Sachs, and Domingo singing beautifully but mangling the German (it's much better these days), this is the one to buy, in the newer, mid-price Calig edition. And if you love this, buy Kubelik's "Parsifal", too; also the best recording out there (see my review).
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4 of 4 people found the following review helpful By Gustav Mahler on January 12, 2011
I concur with nearly everyone that this is probably the most satisfying Meistersinger overall and the sonics, so far ahead of their time, are extremely impressive.

The big question in my mind is why DGG did not issue it as originally planned for the centennial of the opera's premiere. From several sources, I've heard a hard-to-believe rumor that Dietrich Fischer-Dieskau wanted to record the title role eventually and threatened to leave the company if it was released! Can anyone substantiate this?
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