Siegfried Wagner: Sonnenflammen

Roman Trekel (Performer), Ulrich Studer (Performer), Siegfried Wagner (Composer), Roger Epple (Conductor), Orchester der Opernhauses Halle (Orchestra), Anke Berndt (Performer), Eva Bátori (Performer), Michaela Schuster (Performer), Jordi Molina (Performer), Nils Giesecke (Performer), Richard Brunner (Performer) | Format: Audio CD

Product Details

• Performer: Roman Trekel, Ulrich Studer, Anke Berndt, Eva Bátori, Michaela Schuster, et al.
• Orchestra: Orchester der Opernhauses Halle
• Conductor: Roger Epple
• Composer: Siegfried Wagner
• Audio CD (January 17, 2006)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Cpo Records
• ASIN: B000CETZ96
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #191,209 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Prelude

2. Ha! Schaut! Wie Sie Sich Schlagen

3. Hor' Auf Ihn!

4. Verdammtes Rosen-Ol!

5. Vater! Was Hor' Ich! War Es Wahr?

6. Sieh'! Iris!

7. Hort! Sind Sie Schon Da? Die Kreuzritter?

8. Was Die Wieder Hier Zu Schnuffeln Haben

9. Du Bist Im Wege!/Scene 9

10. O Send' Einen Gruss Mir Uber Das Meer

Disc: 2

1. Schutz Bei Euch!

2. Iris! Steh Mir Rede!

3. Bose! Was Entflohst Du?

4. Drei Fragen Beantworte Mir

5. Aber Irrlichtchen, Schnell!

6. Also! Das 'Schmeichel-Stundchen'!

7. Geht!

8. Welt-Untergang!

9. Heimat, Entruckte!

10. Gallischer Konig

Customer Reviews

Most Helpful Customer Reviews

1 of 1 people found the following review helpful:

5.0 out of 5 stars A splendid work, excellently performed, August 9, 2011

By 

G.D. (Norway) - See all my reviews
(TOP 500 REVIEWER)    (VINE VOICE)   

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This review is from: Siegfried Wagner: Sonnenflammen (Audio CD)

Siegfried Wagner must have had one of the most difficult jobs ever trying to escape his father's shadow. Though his music is certainly inspired by his father's ideas the musical language he adopted is usually closer to composers such as Humperdinck though there are points of connection to the early operas of Zemlinsky as well. Although his music is well-served on disc, none of it has really entered the standard repertoire - compared to Richard's works Siegfried's operas are generally second-rate, containing some interesting and inventive elements and even memorable ideas, but rarely achieving the kind of dramatic momentum and sheer visionary quality that permeates his father's mature work. Sonnenflammen was the eighth of Siegfried's operas. It was completed in 1912 and must count as one of his best (at least among the ones I have heard); indeed, it is a splendid, memorable work that truly deserves to be heard. It is also illuminating in another respect: whereas Siegfried generally strived to distance himself from his father in terms of musical language, Sonnenflammen appears to be an exception - here he seems to have let go of such conscious attempts at let the music flow in a pure, only slightly updated (though harmonically even more conservative) Richard Wagner-mode. The fact that the results are superior to his other works thus appears to illustrate the slightly tragic irony of his compositional career.

Sonnenflammen is set in the 13th century. Our "hero" Fridolin forgoes the opportunity to join the Crusades in order to stay home to capture his loved one, Iris, who in turn would have loved him if he had, indeed, joined the Crusades. It ends badly, and the whole work is rather dark, with plenty of sadism, evil and ill-boding omens. As for the music there are some stretches of note-spinning here, but more importantly there are some wonderful parts as well. Among the highlights are the rapturously captivating scenes "Du Bist Im Wege!" and "O Send' Einen Gruss Mir Uber Das Meer" (a must for any lover of late romantic opera and Zemlinsky in particular), the magnificent overture and the effective, dramatic closing. In general there may be a focus on atmosphere at the expense of drama, but not all of us are put off by that, and Wagner is certainly a master of conjuring up a variety of moods and colors (though some may think that he often spends too much time developing these moods).

For this recording CPO has assembled a stellar cast. It is led by Roger Epple, who is definitely adept at making the "Orchester des Opernhauses Halle" produce the textures, nuances and colors he wants. The orchestral playing is generally excellent, especially with respect to realizing autumnal sheen and brilliance, and if the playing sometimes verges on acquiring a hard edge when the drama starts boiling up the overall impression is highly favorable; the chorus is splendid. Among the soloists particular praise must go to baritone Roman Trekel as Alexios; a stirring, coldly cruel characterization. Richard Brunner is an impressive Fridolin, navigating this pretty challenging and stamina-requiring role with aplomb, and Eva Batori an often spectacular, passionate and variegated Iris (although she could have sung in Russian without anyone catching on). Michaela Schneider is a lovely Irene and Niels Giesecke more than adequate. CPO's sound is good if not spectacular, and overall this is a thoroughly recommendable release of a pretty remarkable work in superb performances. Enthusiastically recommended.