Customer Reviews

Wagner: Rienzi

5 star:		(9)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

It is a shame that there are so few recordings available of this very interesting but very problematic opera. This was Wagner's breakthrough work, which premiered in the Saxon Hofoper in Dresden on October 20, 1842. Despite lasting over six hours, it was a great success. However, the problem of cuts has dogged this opera ever since. Since the only complete copy of the opera (Wagner's manuscript) was lost during WWII, it is no longer possible today to perform the opera as Wagner wrote it; but we must be satisfied with abridged versions of the work which have survived. I own a previous release of this EMI recording. It omits even more of the music, some of which yet survives, apparently basing itself on the first engraved score which was published in 1844. Although on the one hand, cuts appear necessary to bring the time of the performance down to reasonable lengths, they impair the effectiveness of the opera, which was designed to make an impression precisely with its large scale. Wagner composed for a large orchestra: he included several large marches, an extensive ballet, and other "set pieces," all in an obvious attempt to emulate (and outdo) the grandiose and sumptuous style of French Grand Opera. The audience was to be overwhelmed by the vast scenic display of mounted armies and religious processions, as well as the aggressive, forceful, repetitive, and LOUD nature of the music. It is difficult to really appreciate this work without having some acquaintance with its background, and the original intent of Wagner; however, given these drawbacks, this recording is a worthwhile purchase for any Wagnerite or fan of early nineteenth century opera. The reading of Irene by Siv Wennberg is particularly impressive, especially the moving fifth act scene in which her brother, the eponymous hero of the work, implores her to save herself from the mob who will bring about his impending fall. I hope for more complete recordings in the future; but for now a recording which I would recommend.

Most people do not associate Richard Wagner with having an "Andrew Lloyd Webber" period in his life, but his early operas were magnificent showpieces for the French opera stage that could best be compared with contemporary theatrical works such as CATS, PHANTOM OF THE OPERA, or other great stage extravaganzas. The influence of composers such as Halevy and Mayerbeer can be found in some of his earlier works, particularly RIENZI. As a matter if fact, there are similarities between techniques of LA JUIVE in this opera. While some may scoff at this, some musicologists see similar techniques of LA JUIVE used in one of Wagner's most beloved works, DIE MEISTERSINGER.

For most opera fans, RIENZI is all but unknown. It does have a powerful overture and a great tenor aria "Allmacht ger Vater" (Rienzi's Prayer), but other than these two pieces, most people are not familiar with the work. It is a large scale work that requires many great voices, has scenes that include soldiers, crowds, and monks. The plot is long and convoluted and includes drama such as power struggles, family loyalty, star crossed lovers, and even an excommunication. Naturally the opera ends tragically with Rienzi and his sister Irene perishing. While the plot is not as sophisticated as his later works, Wagner's music creates drama. Though we do not hear the leitmotifs in this work that we begin to find in works such as HOLLANDER, Wagner's music is challenging for the performers. We also see the roots of Wagner's rich orchestration, as well as his ability to create a full evening of theatre. At times we may think we are listening to Gounod or Verdi, but in the end we know we are listening to Wagner.

There are not too many recordings of this work available and I took my chances with this recording. The set includes tenor Rene Kollo who is generally considered a good Wagnerian tenor (though not the greatest). I find his voice pleasing and have not been disappointed with his other interpretations of Wagner. I made an excellent choice. Kollo does a superb job. The other soloists are wonderful as well, particularly Siv Wennberg as Irene and Janis Martin as Adriano. The orchestra (Staatskapelle Dresden) under the direction of Heinrich Hollreiser is excellent and the choral parts are powerfully performed.

Every time I listen to this recording I wonder why the work is not revived, but the length and the number of top notch soloists needed make it unlikely that major opera houses will revive it anytime soon, but LA JUIVE was recently revived in Berlin and New York. Maybe a revival of RIENZI is a possibility too.

Coming from listening to practically all of Wagner's other known works---from Kempe's Lohengrin to Solti's Ring---I have to admit that Rienzi was a wonderful discovery, even a surprise.

Upon first listening, I can understand why Wagner would not want to look back on this work. It is far from his later music dramas; this is French grand style opera, meaning set pieces with lots of opportunity for marches, dances, etc. Portions of the first act would not even qualify as arias, but rather, the superposition of voice on orchestra. And at first listening, I was not that impressed.

Now after several hearings, I can't help but find the utter beauty and elegance of the work. Never mind that the approach is conventional; Wagner did not set out to break rules here yet, just gain recognition. But the seed of his genius is very evident. There are many beautiful selections, including the tender and moving "Allmacht'ger vater" and of course the marvelous overture.

What is important, of course, is how the work is treated in this recording. I can only say I am very pleased. The star for me is Siv Wennberg as Irene, whose glorious voice is present in every phrase she sings. The other performers are quite good as well, and the choral singing is powerful. The orchestral performance is very good and the conducting shows a good understanding of the work and its purpose.

The only weakness in the work is Kollo as Rienzi. My complaint is simply a matter of his style, not his capability. Kollo is a competent tenor, but his timbre is just not pleasing to me. He comes off as someone who doesn't have the vocal power needed for this work. Maybe I am unfairly (and subconsciously) comparing him to the master: Lauritz Melchior (whose Allmacht'ger vater was my first hearing of Rienzi and instantly catapulted him to my favorite tenor of all time).

I am generally pleased with the CD set and give it 5 stars despite Kollo's weaknesses. Everything else is just too good, and as mentioned, Kollo's vocals are really a matter of taste. The observation that this is somehow a "digestible" Wagner for other audiences may be true. Coming from the other side, where I've been convinced of Wagner's mastery, Rienzi was actually a pleasant revelation.

I never claim to be an opera expert; I only know what I like. I give 'Rienzi' 5 stars because it is actually one of Wagner's best, though it lives deep in the shadows of his more famous works. It's a stylish, lively performance, full of marches, ballets and good performances from the cast. There are no dull moments here. I understand there is no complete version of this opera and that's too bad. But for now, you can't afford to pass up this gem, even as an introduction to Wagner.

Rienzi is Wagner's first opera of note, written when he was a young man trying to establish himself as a great composer. It was extremely popular all across Europe. It was based on a story about the intrigues of 14th Cent. Roman politics. Its scenario included a 40 minute ballet scene, marches, processions, triumphal scenes and thunderous melodrama. It was six hours long.

The original six hours have been edited to three hours in this powerhouse production. Wagner's other operas have powerful moments, but they are relieved by slow and quiet movements to convey the rising and falling of the dramatic story. The relentless high-pitched intensity of this edition is often wearing.

For collectors of Wagner this is a must, even if just as a curiosity. Those listeners who are interested in passionate and thunderous music will find plenty of it in this bombastic extravaganza.

This opera has a great amount of very fine music, most of that music comes from ballet, marches, and preludes for every of the 5 acts, including one of my favorite wagner overtures. The only problem with this opera is the story...it's not that beleivable, considering that over two hours of the original wagner composition were cut off in this (and any) recording. But in my opinion, it is a very nice listening experience. Watch for Irene's (Rienzi's Sister) appearances, it makes this recording worthwhile.

I have to confess that I bought this Rienzi more to complete my knowledge of Wagner's work than for real interest, but at the end it has become one of my favorites records. It is a completely different Wagner for those who first hear his "big" hits, but Hollreiser, cast (more that anyone Rene Kollo, a great singer) and Dresden Staatksapelle manage to capture me with this magical music.

Totally recommended.

Excellent recording of Wagner's shortened version from 1843. The choral performances are especially strong, and Siv Wennberg is very impressive as Irene. A German/English libretto is included. The only negative is the condescending essay by Barry Millington, who ridiculously calls the music "despotic". I can think of adjectives more appropriate: thrilling, catchy, and "sumptuous" (Wagner's term).

Also, look up "Wagner: Opera Choruses" (Royal Swedish) if you'd like to hear a great performance of the Act II "Messengers of Peace".

I own this recording in LP in was very happy to get it on cd.

The performers are top notch. The conducting is excellent.

BTW, Rienzi is (unfortunately) known mostly for its popular overture.

I have listened to many recordings of the overture, mostly they are taken out of context and the result is a fanfare that can be played right after Shostakovich' Festive Overture...

Nontheless, I mention the overture because it is simply outstanding in this release. The only other recording (of the overture) that comes close is of George Szell with the Cleveland Orchestra.

Highly recommended.

This is a marvelous Opera, away from the typical Wagner compositions. You'll barely recognise it: few leitmotivs, large choral scenes, a non-german topic.

This particular recording is the "complete" and "final" version by Wagner (the unabridged version would last more than 6 hours and I think it hasn't been fully recorded yet). The conducting by Herr Hollreiser is so powerful and perfect that you'll think that the one with the baton is Karajan.

The singers are mavelous: It's the best recording of Kollo, indeed. The Irene sung by Wennberg is tender but at the same time, powerful. Both Choruses (Staatsoper Dresden & Staatskapelle Dresden) are strong and clear, without any shouting.

If you're into Opera, buy it. If you're not into it, buy it too. It's a little bit long: almost 3 hours and a half. But's worth the time