Second Day: Siegfried, Act II: Nun sing! Ich lausche dem Gesang (Siegfried/Waldvogel)

• Category:  Downloads  »  Music   »  Classical Music  »  Opera
• Format: Music Download   Learn more about the Music Download format using Tower WIKI.
• Release Date: May 7, 2002
• Label: EMI Classics
• UPC: 724355724229
• WAPI (Tower ID): 106259300
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• Tower.com Sales Rank: #118422 in (See Top 100 Bestsellers)
• #10971 in Classical Music (See Top 100 Classical Music Bestsellers)
• #2159 in Opera (See Top 100 Opera Bestsellers)

Browse more products related to "Placido Domingo - Wagner / with Cangelosi, Dessay, Urmana, Covent Garden, Pappano"

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Placido Domingo is a phenomenon. He has preserved not only the beauty, flexibility, and flawless production of his voice over a career spanning four decades, but also his eagerness for new adventures and challenges. To several Wagnerian roles he performed recently, he has now added Siegfried, at least on record (having first tried out the role on his successful Wagner Love Duets). This disc proves that his vocal power is undiminished, while his ability to create and project character keeps gaining depth and conviction. That said, it cannot be denied that he is not a true "Heldentenor," vocally or temperamentally. Thus, one misses the unbridled boyish glee in the sword-forging scene, despite the ringing high A's.

However, his response to the Forest Bird is exuberant, his duet with Brünnhilde ardent and ecstatic. The lyrical, introspective passages--like his musings about his mother and his dying farewell--are most moving and persuasive. He is splendidly supported by Violeta Urmana, a dark-voiced, passionate Brünnhilde; Natalie Dessay, whose Forest Bird laughs merrily; and David Cangelosi, who makes Mime's devious villainy a bit too obvious. Since in Wagner the orchestra is almost as important as the singers, the disc includes several instrumental sections, and the playing is wonderful, though almost inaudible in the very soft passages. The wind soloists are grand, the forest murmurs, the Rhine swells and glitters, and the Funeral March is majestic. Since there are no set pieces in these through-composed operas, a feeling of disjointedness is inevitable, and the transitions between scenes do not really work. --Edith Eisler

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