Various Artists - Wagner

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Wagner (Various Artists) Album Songs

NoSong TitleTime
1.The Flying Dutchman, WWV 63: Overtu... 9:50
2.The Flying Dutchman, WWV 63, Act II... 4:58
3.The Flying Dutchman, WWV 63, Act II... 7:34
4.The Flying Dutchman, WWV 63, Act II... 3:59
5.Lohengrin, WWV 75: Overture 6:52
6.Lohengrin, WWV 75, Act III: Treulic... 9:20
7.Tannhäuser, WWV 70, Act II: Entran... 5:58
8.Tannhäuser, WWV 70, Act II: Dich T... 3:05
9.Tannhäuser, WWV 70, Act II: Beglü... 5:24
10.Tannhäuser, WWV 70, Act II: Allmä... 5:13
11.Tannhäuser, WWV 70, Act II: Wie To... 4:59
12.Die Meistersinger Von Nürnberg, WW...10:38
13.Die Meistersinger Von Nürnberg, WW... 3:05
14.Die Meistersinger Von Nürnberg, WW... 6:52
15.Die Meistersinger Von Nürnberg, WW... 5:37
16.Die Meistersinger Von Nürnberg, WW... 6:12
17.Parsifal, WWV 11: Overture12:31
18.Parsifal, WWV 11, Act I: Nehmet Hin...14:56
19.Parsifal, WWV 11, Act III: Good Fri...11:27
20.Parsifal, WWV 11, Act III: Geleiten... 3:27
21.Das Rheingold, WWV 86a: Entry Of Th... 7:29
22.The Valkyrie, WWV 86b, Act III: Rid... 5:19
23.The Valkyrie, WWV 86b, Act III: Leb...16:50
24.Siegfried, WWV 86c, Act II: Waldweb... 8:45
25.Siegfried, WWV 86c, Act I: Hoho! Ho... 6:14
26.Twilight Of The Gods, WWV 86d, Act ...10:48
27.Twilight Of The Gods, WWV 86d, Act ... 6:53
28.Twilight Of The Gods, WWV 86d, Act ...13:52
29.Tristan Und Isolde, WWV 90: Overtur... 9:24
30.Tristan And Isolde, WWV 90, Act III... 6:00

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Wagner Wiki

Wilhelm Richard Wagner ( VAHG-nər; German: [ˈʁɪçaʁt ˈvaːɡnɐ] ; 22 May 1813 – 13 February 1883) was a German composer, theatre director, essayist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to drama. The drama was to be presented as a continuously sung narrative, without conventional operatic structures like arias and recitatives. He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the 16-hour, four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung, also known simply as The Ring). Wagner's compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration, and the elaborate use of leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements. His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music; his Tristan und Isolde is sometimes described as marking the start of modern music. As he matured, he softened his ideological stance against traditional operatic forms (ie. arias, ensembles and choruses), reintroducing them into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) and Parsifal. To properly present his vision of the works, Wagner had his own opera house built to his specifications: the Bayreuth Festspielhaus, which featured many innovative design elements intended to immerse the audience in the drama. The premieres of The Ring and Parsifal took place there, and his most important stage works are performed at the annual Bayreuth Festival. The early success of the festival was secured by the efforts of his wife, Cosima Wagner, and has since been maintained by their descendants, attracting audiences from around the world. Wagner's unorthodox operas, essays, and personal dealings engendered considerable controversy during his lifetime, and continue to do so. Declared a "genius" by some and a "disease" by others, his music is widely performed, but his views on religion, politics, and social life are debated—most notably on the extent to which his antisemitism finds expression in his stage and prose works. The effect of his ideas can be traced in many of the arts throughout the 20th century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.

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