Altmeyer, Jeannine

Der Ring des Nibelungen by Richard Wagner( Recording )

24 editions published between 1981 and 2022 in 3 languages and held by 59 WorldCat member libraries worldwide

El anillo del nibelungo en alemán, es un ciclo de cuatro óperas épicas, basadas libremente en figuras y elementos de la mitología germánica, particularmente las Sagas islandesas. Estas operas son, El oro del Rin (Das Rheingold), La valquiria (Die Walküre), Sigfrido (Siegfried) y El ocaso de los dioses (Götterdämmerung)

Der Ring des Nibelungen : a stage festival drama for three days and a preliminary evening, produced at the Bayreuth Festspielhaus by Richard Wagner( Visual )

3 editions published between 1988 and 2001 in German and held by 53 WorldCat member libraries worldwide

An allegory telling the mythic tale of the battle for power between the Nibelung dwarfs, the giants and the gods

Das Rheingold by Richard Wagner( Visual )

6 editions published between 1988 and 2008 in German and Undetermined and held by 52 WorldCat member libraries worldwide

For this production Georges Wakhevitch has produced stage settings and transformations that support Karajan's concept with every possible means. His staging is in the epic style of another age, emphasizing the dignity of the gods

Der Ring des Nibelungen : a stage festival drama for three days and a preliminary evening by Richard Wagner( Visual )

4 editions published between 1981 and 2005 in German and held by 44 WorldCat member libraries worldwide

The four operas of The Ring Cycle

War requiem by Benjamin Britten( Recording )

5 editions published between 1975 and 1993 in 3 languages and held by 43 WorldCat member libraries worldwide

Public awareness of Benjamin Britten's person and works advanced dramatically -- even explosively -- twice during his lifetime. The first time was in 1945, when his opera Peter Grimes was produced for the postwar reopening of Sadler's Wells Theatre in London. The second time followed the premier at Coventry and the subsequent series of performances all across Europe and North America of the War Requiem. Except to those provincials who thought that milky pastoral was the only idiom appropriate for an Englishman and who also found the young Britten too clever by half, the triumph of Peter Grimes marked not just the confirmation of a prodigious talent; it represented a moment of hope that, for the first time since the death of Henry Purcell in 1695, England had produced a composer of international stature. The impact the War Requiem made 17 years later was wider and deeper by far. Britten, approaching 50, had become an artist whose every new utterance was awaited with the most lively interest and the highest expectations. The War Requiem, moreover, was tied to a pair of events that were heavily freighted with history and emotion: the destruction of Coventry Cathedral in an air raid during the night of November 14-15, 1940, and its reconsecration more than 21 years later. Its first performance was planned as an international event with respect both to participants and audience. Most importantly, the War Requiem was a weighty and poignant statement on the subject of piercingly urgent concern to much of humankind. In the War Requiem, Britten drew on forces larger and more complex than in any previous work of his. The basic division of the performers is into two groups, reflecting the dual source of the words; the libretto stands in a relation of text (the Latin Missa pro defunctis) and commentary (the nine Owen poems). The Latin text is essentially the province of the large mixed chorus, but from this there is spillover in two opposite directions: the solo soprano represents a heightening of the choral singing at its most emotional, while the boys' choir represents liturgy at its most distanced. The mixed chorus and solo soprano are accompanied by the full orchestra; the boys' choir, whose sound should be distant, is supported by an organ. All this constitutes one group. The other group consists of the tenor and baritone soloists, whose province is the series of Owen songs; they are accompanied by the chamber orchestra. - Program notes / Michael Steinberg

Der Ring des Nibelungen by Richard Wagner( Visual )

7 editions published between 1987 and 2012 in German and Undetermined and held by 40 WorldCat member libraries worldwide

An allegory telling the mythic tale of the battle for power between the Nibelung dwarfs, the giants, and the gods

Wagner's Ring by Richard Wagner( Visual )

3 editions published between 1983 and 2005 in German and English and held by 40 WorldCat member libraries worldwide

This opera is part 2 of Wagner's Ring of the Nibelungs and tells the story of the children of Wotan, Sigmund and Siglinde; how they meet and elope and are helped by the Valkyrie, Brunhilde, who is one of a band of warrior-maidens whose duty is to choose and carry on their winged steeds the bodies of the bravest warriors slain in battle and bring them to Valhalla, abode of the gods. Sigmund is killed but Brunhilde saves Siglinde and for this she is

Die Walküre by Richard Wagner( Visual )

2 editions published between 2006 and 2013 in German and held by 40 WorldCat member libraries worldwide

Siegmund falls in love with Sieglinde and must battle her husband, Hunding. The Valkyrie Brunhilde sides with Siegmund and in punished for her disobedience by Wotan, the ruler of the gods

Der Ring des Nibelungen : ein Bühnenfestspiel für drei Tage und einen Vorabend by Richard Wagner( Visual )

2 editions published in 2006 in German and held by 35 WorldCat member libraries worldwide

The third opera in Wagner's Ring cycle, in which the fearless hero Siegfried makes his entrance

Der Ring des Nibelungen by Richard Wagner( Visual )

4 editions published between 1980 and 1988 in German and held by 28 WorldCat member libraries worldwide

The four operas of The Ring Cycle