LPO–0003
© 2005 London Philharmonic Orchestra
℗ 1992 BBC
Recorded by BBC Radio 3 live at the Royal Albert Hall, London, on 20 August 1992
Total playing time 76:52
Klaus Tennstedt appears by kind permission of EMI Classics
The London Philharmonic Orchestra wishes to thank Laurie Watt for facilitating the release of this recording.
Released May 2005

CD: Tennstedt conducts Wagner opera excerpts

LPO conducted by Klaus Tennstedt

Richard Wagner (1813–83)

Prelude from Die Meistersinger von Nürnberg

Overture from Rienzi

Der Ring des Nibelungen:
   Part 4 Götterdämmerung
   Dawn and Siegfried's Journey to the Rhine
   Siegfried's Funeral Music
   Part 2 Die Walküre
   The Ride of the Valkyries (concert version)

Overture and Venusberg Music from Tannhäuser (1845)

Klaus Tennstedt conductor
London Philharmonic Orchestra
Heinrich Hochschild guest leader

Wagner's celebrated output for the opera house resulted not only in some staggering stage works, but also in unparalleled orchestral achievements. His operatic overtures, preludes and interludes have acquired a status as stand-alone concert works in their own right. Klaus Tennstedt was totally dedicated to the London Philharmonic Orchestra – a dedication that was reciprocated by the Orchestra's musicians, staff and audiences, and which pervades these live performances from 1992.

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1 Audio CD

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Reviews

‘For once, what remains in the mind about this performance of the Prelude to Die Meistersinger is not the strength of the brass, but the high-stepping complex rhythms of the string writing, while the Venusberg Music from Tannhäuser is so full of orgiastic sensuality it barely needs any accompanying stage action. Wonderful music, beautifully played.’
Scotland on Sunday, 22 May 2005

‘Every bar of these performances is filled with the extra adrenalin that one expects at a really memorable concert. Tennstedt’s are traditional readings: the Meistersinger Overture is taken at a board, steady pace, with the usual ritardandi at the end, and how magnificent its sounds! Rienzi, too, is uninhibited with a glorious dallying on the big tune at the opening; and the paired excerpts from Götterdämmerung are spaciously histrionic, the thundering chords of the Funeral music splendidly sinister.’
Ivan March, Gramophone, August 2005

‘If ever there were a case for live recording, this is it’
Gramophone, August 2005

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