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Wagner

5 customer reviews

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Biography

RENÉ PAPE – A BIOGRAPHICAL TIMELINE
“René Pape is certainly one of today’s towering figures in opera, literally and figuratively: the bass’s unbeatable combination of physical stature, charisma, intensity and voice is presented with an extraordinary level of artistic integrity. His musical and dramatic intentions are motivated by intelli-gence and ... Read more in Amazon's René Pape Store

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Product details

  • Audio CD (25 April 2011)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Decca (UMO)
  • ASIN: B000XH2BI4
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 171,541 in Music (See Top 100 in Music)

1. Leb wohl, du kühnes, herrliches Kind!
2. Der Augen leuchtendes Paar
3. Loge, hör! Lausche hieher!
4. "Was duftet doch der Flieder"
5. Hört, ihr Leut, und laßt euch sagen
6. "Verachtet mir die Meister nicht" - René Pape, Staatskapelle Berlin, Daniel Barenboim, Chor Der Staatsoper Berlin, Eberhard Friedrich
7. Gott grüß' euch, liebe Männer von Brabant! - René Pape, Staatskapelle Berlin, Daniel Barenboim, Chor Der Staatsoper Berlin, Eberhard Friedrich
8. Oh Gnade! Höchstes Heil! - Oh Herr! War es ein Fluch - René Pape, Plácido Domingo, Staatskapelle Berlin, Daniel Barenboim
9. Und ich, ich bin's - Nicht doch! Die heilge Quelle selbst - Plácido Domingo, René Pape, Staatskapelle Berlin, Daniel Barenboim
10. Gesegnet sei, du Reiner, durch das Reine! (Gurnemanz, Parsifal) - René Pape, Plácido Domingo, Staatskapelle Berlin, Daniel Barenboim
11. Wie dünkt mich doch die Aue - Plácido Domingo, René Pape, Staatskapelle Berlin, Daniel Barenboim
12. Wie Todesahnung... O du mein holder Abendstern (Wolfram)

Product Description

DGG 4776617; DEUTSCHE GRAMMOPHON - Germania; Classica Lirica Recital

Customer Reviews

4.0 out of 5 stars
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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Stanley Crowe on 12 Aug. 2013
Format: Audio CD
I'm going to disagree with Ralph Moore here -- I found this a most affecting and beautiful recital, and its greatest strengths to me were where RM saw the greatest weakness -- in the long excerpts from "Walkure" and "Parsifal." First of all, though, everything on this album is beautifully voiced -- there is literally not an ugly note or phrase on the disc. The "Meistersinger" pieces are beautifully sung, though I don't see them as giving Pape the space to create a movement of mood and feeling in the way that the "Walkure" (15+ continuous minutes) and "Parsifal" (23+ continuous minutes) sections do. You can't pack a whole Hans Sachs into one passage, and Pape sings expressively enough for the dramatic situations that Sachs finds himself in. Also, I had no quarrel with his "Tannhauser" aria -- it isn't Fischer-Dieskau or Terfel, but it works on its own terms as effectively as theirs. Wolfram's sorrow and decency find more than adequate expression. In the "Walkure" and "Parsifal" extracts not only is the singing beautiful but the expressiveness deepens as the scene goes on, and Pape's sense of what the words mean and his dynamic and tonal adjustments to communicate that meaning are masterful. Just listen to "Wie des Erlosten Leiden du gelitten/die letzte Last entnimm nun seinen Haupt!" (from "Parsifal"). The scene has built beautifully to that moment, and the change of feeling thereafter is perfectly registered. All this isn't to say that Hotter or Moll or Schorr or Adam weren't marvelous too -- at this level, comparison doesn't seem to me to be necessary. It's also good to hear Domingo, well into his 60's and with just a touch of unevenness, sing Parsifal's lines very well and expressively.Read more ›
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21 of 24 people found the following review helpful By Ralph Moore TOP 100 REVIEWER on 8 May 2011
Format: Audio CD
What has happened to René Pape? The moment I started playing this new recital album, warning bells sounded in the background. Was this the voice as I had remembered it from "Das Wunder der Heliane", with its smooth, velvety power and ringing top G flat? That cameo role was recorded as long ago as 1992 and since then Pape has ascended the ranks of bass-baritones until he is now acclaimed, according to the sticker on the front of my review copy, as "the premier basso cantante of our time" (Gramophone) and even "the greatest operatic bass in the world" (FAZ). Yet what I was hearing didn't quite justify those encomiums: a pleasant voice with some agreeable features but too often grey and underpowered. Somewhat rattled and experiencing a crisis of reviewer's confidence, I turned to first one then another in my collection of the greatest exponents of Wotan, specifically recordings of that magnificent conclusion to "Die Walküre" which Pape essays here and which demands the most extraordinary range, power and pathos from a Heldenbariton of the first rank. And I began to listen, not to one, or two, but to no fewer than ten recordings:

Friedrich Schorr (1927, conductor Blech); Marcel Journet - in French (1928, Coppola); Ferdinand Frantz (1949, Moralt and 1954, Fürtwängler); Sigurd Björling (1951, Karajan); Hans Hotter (1953, Krauss and 1958, Ludwig); George London (1961, Leinsdorf); last and definitely least, Theo Adam (1967, Böhm).

Their great, brazen voices rang out across the years and I asked myself whether Pape was really in their company. The answer is clear: not really. He has none of the heft and authority, the blooming top notes, the fullness of tone in the centre of the voice that marks out his predecessors.
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3 of 4 people found the following review helpful By M. Joyce TOP 500 REVIEWERVINE VOICE on 26 Feb. 2012
Format: Audio CD Verified Purchase
There's no getting away from the fact that this is a superb voice, arguably the best of its type around today and a fitting successor to the great Kurt Moll. (Although Herr Papé's voice is a notch higher than Moll's, it is blessed with the same sumptuous velvet tone and encompasses much of the same repertoire, even if the younger singer is clearly destined to undertake Wagner's great bass-baritone, as opposed to bass, roles)

This is indisputably a gorgeous basso cantante voice and, as the illuminating sleeve-notes make clear, Papé's approach to the singing of Wagner is very much a bel canto one, there is not a hint of the infamous "Bayreuth bark" here!

We are treated here to scenes from five operas. In Wotan's famous farewell to his daughter from "Die Walküre", Herr Papé gives us a tantalizing glimpse of what a significant exponent of this role he will undoubtedly become. Pogner has long been Papé's role in "Die Meistersinger", but it is clear that he has the vocal wherewithal to become a great Sachs and the excerpts here demonstrate that he can cope with ease with both the introspective and public utterances of the character. We are also given a brief snippet of the Nightwatchman's music; these are perhaps among the most beautiful few bars in all opera, but it seems a curious inclusion here. He is on familiar ground with Heinrich's address from "Lohengrin". But although one can only admire the ease and tonal beauty with which he dispatches Wolfram's song to the Evening Star from "Tannhäuser", I have to say that I prefer to hear a lyric baritone voice (Fischer-Dieskau, Prey, Allen) in this music.
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