Album został wydany przez wytwórnię Hyperion (CDA 68299).

• Wykonawca The Gesualdo Six
• Data premiery 2019-11-01
• Nośnik CD

Tracklista: 1. Te Deum in F Major 2. Benedictus in F Major 3. Kyrie 4. Credo 5. Sanctus 6. Benedictus qui venit 7. Agnus Dei 8. Pater noster 9. Gloria in excelsis 10. My song is love unknown 11. Elegiac Romance 12. Magnificat 13. Nunc dimittis 14. Christ the Lord is risen today, "Sampford" 15. Adam lay ybounden 16. New Prince, New Pomp 17. 4 Preludes: No. 3. The Holy Boy (version for chorus) 18. A New Year Carol 19. Greater love hath no man 20. Eastergate 21. Ex ore innocentium 22. Capriccio 23. Island Praise 24. Magnificat 25. Nunc dimittis

• Wykonawca Various Artists
• Data premiery 2016-03-11
• Nośnik CD

Vaughan Williams completed the Five Mystical Songs, together with the Sea Symphony, in 1911. He was by then almost forty years of age and had but a few years earlier (1908) studied with Maurice Ravel in Paris. Despite their disparate personalities the two musicians became firm friends and, although Vaughan Williams was later to make characteristically flippant remarks about catching ‘French fever’, in truth he learned much of value from the elegant Frenchman, a fact that he was only too ready to acknowledge. That he chose to study with a French master rather than follow the Teutonic studies favoured in his day shows a remarkable degree of discernment on the part of the evolving composer. He was rewarded with much good Gallic advice: to be ‘complex but not complicated’ apropos contrapuntal textures; he was taught to orchestrate in points of colour rather than in lines; also that formal development should be undertaken only to arrive at something better, never just for its own sake. Ravel was revealingly horrified to hear that Vaughan Williams had no access to a piano in the modest Paris hotel in which he stayed. Only with a piano, the French master explained, could one invent new harmonies. Such advice Vaughan Williams accepted with gratitude and he summed up his three months in Paris as a ‘new and invigorating experience’. Two of the English composer’s most loved and enduring masterpieces, On Wenlock Edge and the Fantasia on a theme of Thomas Tallis, followed his sojourn in Paris, and it was in particular the success of the latter which earned Vaughan Williams a new commission to write a work for the Worcester Festival. To fulfil this request the composer decided to complete the settings of five poems by George Herbert upon which he had been working for some time. The poet was himself a musician who associated music with a ‘divine voice’, a view totally in sympathy with the visionary aspects of Vaughan Williams’s art. Herbert died from tuberculosis in 1633 at the age of forty, his early demise the more sad since some of his poems are among the finest of the early seventeenth century. They are to some degree reminiscent of those of his great contemporary John Donne, even if they are less vivid and more intimate, a factor which, together with their ‘musicality’, tends to make a successful musical setting more attainable.   The orchestration of the first two of the Mystical Songs owes something to the example of Elgar, and the opening song ‘Easter’ establishes the nature of the whole cycle, its ardent religiosity being combined with a wholly acceptable romantic inclination. The second song, ‘I got me flowers’, is a fine example of Vaughan Williams’s ability to express emotion with the simplest arrangement of notes, whilst the third, ‘Love bade me welcome’, has a muted string accompaniment that creates a perfect foil for the words. The use of the Corpus Christi chant, ‘O sacrum convivium’ as a wordless chorus set against the baritone soloist’s words ‘You must sit down … ’ is simply masterful.   ‘The Call’, the fourth song in the set, uses a tune that might have come from the distant past but was in fact a typical invention of Vaughan Williams. Its modal treatment lends credence to its apparent antiquity and it provides a remarkable contrast to the ‘Antiphon’ that concludes the set. ‘Let all the world in every corner sing’ rings out with unequivocal conviction and, after its first performance, The Times reported that ‘the spirit of the words is reproduced with extraordinary sympathy, and the words themselves declaimed in a way which indicates a true musical descendant of Lawes and Purcell’.   The first performance of Vaughan Williams’s Five Tudor Portraits was given at the Norwich Festival in 1936. ‘I think they thought they’d get “O Praise the Lord”,’ the composer noted, ‘but I sent them the Five Tudor Portraits.’ It was clearly a shock to many since the poems set were by John Skelton, a Tudor poet whose vigorous realistic and earthy verses may be said to have caused consternation among certain members of the audience. Skelton, a one-time tutor to Henry VIII (when Duke of York), used what became known as a ‘Skeltonic line’, a short erratic rhyming verse which may descend from Medieval Latin rhyming prose. The ribald ‘Tunning of Elinor Rumming’ is an excellent example of this and such verses were well-known to Elgar who described the Skelton metre as often being pure jazz. The first performance of the Five Tudor Portraits under the baton of the composer earned wide praise from the critics of the day. Astra Desmond gave ‘the most delicate picture of a drunken hag at the famous brewing’, noted The Times; ‘everyone concerned caught the spirit of the thing, and the composer conducted a brilliant first performance’. Edwin Evans in The Musical Times reported that he had rarely seen an English audience ‘so relieved of concert-room inhibitions’.   Despite the enormous initial success of the Five Tudor Portraits, however, the work has not subsequently enjoyed the frequency of performance its musical merits may be said to have earned. The reason for this may well lie in the difficulty of the work, especially in respect of the characterization required, and also because the earthiness of the archaic humour contained in many of the verses is not universally appreciated. As the eminent writer Michael Kennedy has pointed out in his quite excellent The Works of Ralph Vaughan Williams, to some extent the design of the work may be to blame. Three fine short movements appear to be outweighed by the two long ones of which ‘Jane Scroop’ is so good that it tends to overshadow the whole work.   The uninhibited setting of ‘Elinor Rumming’ with which Vaughan Williams begins the suite shows the composer’s undoubted delight in the racy Skelton verses. Eventually, the varying rhythms are slowed to accommodate ‘drunken Alice’, whose revelations are tellingly accompanied by piccolo, trumpet and horn. ‘Pretty Bess’ follows, an Intermezzo of great charm in which the soloist’s protestations are echoed by the male chorus. It is also the male chorus that sings the ‘Epitaph on John Jayberd of Diss’ the eponymous subject of which Skelton had known—and obviously disliked since he revels John Jayberd’s demise; Vaughan Williams echoes these sentiments in some brilliant choral writing. The section ends with a parody of the Office for the Dead.   The following Romanza is no parody but a real requiem for a pet sparrow killed by a cat. Tender innocence is marvellously portrayed in both verse and music in this lament by a lady for her lost pet. Little Jane and her friends carry the minute coffin to its interment, chanting words from the Requiem. The sensitivity of orchestral writing in this movement is one of Vaughan Williams’s most remarkable achievements. The air is full of the sound of birds and, at the climax, Jane’s voice can be heard intoning the Miserere. The chorus, in a glorious passage, sings of the approaching night and for Philip Sparrow’s soul. Here Vaughan Williams is truly inspired; avoiding sentimentality he unerringly evokes an emotional response of genuine depth.   To be successful the final song could only be a complete contrast to ‘Jane Scroop’, and so it is. ‘Jolly Rutterkin’ is a delightful Scherzo that uses cross-rhythms in an exciting and masterly fashion. It brings a fine work to an eminently satisfying conclusion.   Nearly thirty years after his time in Paris with Ravel was not Vaughan Williams still reaping the benefit of his studies there? There are many pointers to that conclusion in the Five Tudor Portraits.   Peter Lamb © 1999

• Wykonawca Walker Sarah
• Data premiery 2006-03-07
• Nośnik CD

Tracklista: CD 1 1. Parle Prima CD 2 1. Parle Seconda  

• Wykonawca Various Artists
• Data premiery 2012-02-20
• Nośnik CD

Tracklista:1. Introitus: Requiem2. Kyrie3. Sequentia4. Dies irae; Sequentia; Rex tremendae; Recordare; Confutatis; Lacrimosa5. Offertorium:6. Domine Jesu; Hostias7. Sanctus8. Benedictus9. Agnus Dei10. Communio: Lux aeterna

• Wykonawca Hajossyova Magdelena
• Data premiery 2006-01-01
• Nośnik CD

Marcel Ponseele and il Gardellino have just released a second volume of their cantata series. They envisage making five recordings altogether under the theme of a ‘testimony’, each of which will focus on a specific theme. Each CD will include works of Bach, and, at the same time, works by his contemporaries like Graupner, Telemann, Zelenka and others. So the first CD was devoted to the theme of ‘Desire’. The following CDs will deal with other emotions. The second CD, ‘De profundis’, is a call for liberaton. ‘Lamentatio’ is the central theme of the third CD. ‘Trübsal’ (sorrow) will be the theme of the fourth, and lastly the fifth, ‘der Tod’, will deal with the theme of death, the great and final liberation. On the question if the ‘Testimonia’ represents a kind of musical testament, Marcel Ponseele answers: No, absolutely not! ‘Testament’ has connotations which are a little too definitive, like a final breath - no. ‘Testimonia’ means testimony. This series of recordings must testify to the way we approach Bach at the beginning of the 21st century, and above all the manner in which we attempt to pass on to the receptive soul the universal message, which shines out from the music of Bach.On the question ‘How is the Testimonia series special?’ Marcel Ponseele answers: I interpret Bach with some friends with whom I feel a deep affinity – some soul mates – whom I have given concerts with for many years, and who share my approach to this music. We do not call on great stars with their astronomical fees – Bach didn’t do that either – but we work with musicians who love this music; people who, again like Bach, seek true harmony, even transcendence. I also wanted to avoid musicological pitfalls of every kind. Most discussions about performance practice are in fact devoid of any substance and relevance. Certainly it is good and necessary to take account of the historical aspect, but what matters is the message contained in the music. Understand that and deliver it, that is my real priority!

• Wykonawca Il Gardellino
• Data premiery 2011-02-01
• Nośnik CD

Tracklista:1. Supremum Est Mortalibus Bonum2. O Spirito Gentil3. Morir Desio4. Excelsa Civitas Vincencia5. Quel Fronte Signorile In Paradiso6. C'est Bien Raison De Devoir Essaucier7. Befiore8. O Felix Flos Florentia - Gaude Felix Dominice9. Vassilissa Ergo Gaude10. O Sancte Sebastiane - O Martyr Sebastiane11. Exultet Celum Laudibus12. Mirandas Parit13. O Proles Hispanie - O Sidus Hispanie

• Wykonawca La Reverdie
• Data premiery 2003-01-01
• Nośnik CD

Lista utworów:1. Vergene bella (cantilena motet, a3)2. Navré je suis d'un dart penetratif (rondeau, a3)3. Quel fronte signorille in paradiso (a3); La dolce vista (ballata, a3)4. Ma belle dame souveraine (rondeau, a4)5. Dona i ardenti ray (ballata, a3)6. Mon cuer me fait tous dis penser (rondeau, a4)7. L'alta belleza tua virtute valore (ballata, a3)8. La belle se siet au pied de la tour (rondeau, a3; only cantus 2 by Dufay)9. Invidia nimica (ballata, a4)10. Mon chier amy, qu'aves vous empensé (ballade a3)11. La dolce vista del tuo viso pio (ballata, a3)12. J'atendray tant qu'il vous playra (rondeau, a3)13. Par droit je puis bien complaindre et gemir (rondeau, a3 or 4)14. Dona gentile, bella come l'oro (ballata, a3)15. Je me complains piteusement (ballade, a3)16. Passato è il tempo omai di quei pensieri (ballata, a3)17. Entre vous, gentils amoureux (rondeau, a3)18. Se la face ay pale (ballade, a3)

• Wykonawca Cantica Symphonia
• Data premiery 2006-05-01
• Nośnik CD

Tracklista:1. Kyrie. Close now thine eyes2. Revelation. Factum est silentium3. Litany. Belief4. Hymn. Lead, kindly light5. Lacrymosa. Do not stand at my grave and weep6. Dies irae. In Flanders fields7. Recordare. Drop, drop, slow tears8. Revelation. Tum angelus tertius clanxit9. Agnus Dei10. In Paradisum. Lux aeterna11. Love Divine12. The Lord is my Shepherd. Psalm 2313. Spared

• Data premiery 2008-09-22
• Nośnik CD / Album

1. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Prelude2. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Weia, waga3. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Hehe! ihr Nicker!4. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Garstig glatter glitschriger Glimmer!5. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Lugt, Schwestern!6. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 1. Bangt euch noch nicht?7. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Interlude8. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Wotan, Gemahl!9. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Vollendet das ewige Werk!10. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. So schirme sie jetzt11. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Sanft schloß Schlaf dein Aug'12. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Schweig dein faules Schwatzen13. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Zu mir, Freia!14. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Halt, du Wilder!15. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Wie? welchen Handel hätt' ich geschlossen?16. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Immer ist Undank Loges Lohn!17. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Was ein Dieb stahl18. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Hör, Wotan, der Harrenden Wort!19. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Was sinnt nun Wotan so wild?20. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 2. Auf, Loge! hinab mit mir!21. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Hehe! hehe!22. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Nibelheim hier1. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Wer hälfe mir?2. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Hierher! Dorthin!3. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Was wollt ihr hier?4. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Habt acht! Habt acht!5. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Riesenwurm winde sich ringelnd!6. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Luge du her!7. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 3. Interlude8. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Da, Vetter, sitze du fest!9. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Wohlan, die Niblungen rief ich mir nah10. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Gezahlt hab' ich11. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Bin ich nun frei?12. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Lauschtest du seinem Liebesgruß?13. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Bringst du gute Kunde?14. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Auf Riesenheims ragender Mark15. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Freia, die schöne16. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Weiche, Wotan!17. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Hört, ihr Riesen!18. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Zu mir, Freia!19. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Halt, du Gieriger!20. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Was gleicht, Wotan21. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Schwüles Gedünst schwebt in der Luft22. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Zu Burg führt die Brücke23. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Abendlich strahlt der Sonne Auge24. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Ihrem Ende eilen sie zu25. Das Rheingold (The Rhine Gold), opera, WWV 86a: Scene 4. Rheingold! Rheingold!1. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 1. Prelude2. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 1. Wes Herd dies auch sei3. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 1. Einen Unseligen labtest du4. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 2. Müd am Herd fand ich den Mann5. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 2. Friedmund darf ich nicht heißen6. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 2. Die so leidig Los dir beschied7. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 2. Ich weiß ein wildes Geschlecht8. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. Ein Schwert verhieß mir der Vater9. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. Schläfst du, Gast?10. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. Winterstürme wichen dem Wonnemond11. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. Du bist der Lenz12. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. O süßeste Wonne! Seligstes Weib!13. Die Walküre (The Valkyrie), opera, WWV 86b: Act 1. Scene 3. Siegmund heiß' ich und Siegmund bin ich?1. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 3. Raste nun hier, gönne dir Ruh!2. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 3. Hinweg! Hinweg! Flieh die Entweihte!3. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 3. Siegmund! Sieh auf mich!4. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 4. Erderluft muß sie noch atmen5. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 4. Weh! Weh! Süßestes Weib6. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 4. Zwei Leben lachen dir hier7. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 5. Zauberfest bezähmt ein Schlaf8. Die Walküre (The Valkyrie), opera, WWV 86b: Act 2. Scene 5. Wehwalt! Wehwalt!1. Siegfried, opera, WWV 86c: Act 1. Scene 1. Prelude2. Siegfried, opera, WWV 86c: Act 1. Scene 1. Zwangvolle Plage!3. Siegfried, opera, WWV 86c: Act 1. Scene 1. Hoiho! Hoiho!4. Siegfried, opera, WWV 86c: Act 1. Scene 1. Willst du denn nie gedenken5. Siegfried, opera, WWV 86c: Act 1. Scene 1. Vieles lehrtest du, Mime6. Siegfried, opera, WWV 86c: Act 1. Scene 1. Einst lag wimmernd ein Weib7. Siegfried, opera, WWV 86c: Act 1. Scene 1. Und diese Stücken sollst du mir schmieden8. Siegfried, opera, WWV 86c: Act 1. Scene 2. Heil dir, weiser Schmied!9. Siegfried, opera, WWV 86c: Act 1. Scene 2. Du rührtest dich viel auf der Erde10. Siegfried, opera, WWV 86c: Act 1. Scene 2. Viel, Wanderer, weißt du mir11. Siegfried, opera, WWV 86c: Act 1. Scene 2. Viel, Wanderer, weißt du mir12. Siegfried, opera, WWV 86c: Act 1. Scene 2. Nun, ehrlicher Zwerg13. Siegfried, opera, WWV 86c: Act 1. Scene 2. Ein weiser Niblung14. Siegfried, opera, WWV 86c: Act 1. Scene 2. Sag mir, du weiser Waffenschmied15. Siegfried, opera, WWV 86c: Act 1. Scene 3. Verfluchtes Licht!16. Siegfried, opera, WWV 86c: Act 1. Scene 3. Heda, du Fauler!1. Siegfried, opera, WWV 86c: Act 1. Scene 3. Bist du es, Kind?2. Siegfried, opera, WWV 86c: Act 1. Scene 3. Fühltest du nie im finstren Wald3. Siegfried, opera, WWV 86c: Act 1. Scene 3. Her mit den Stücken4. Siegfried, opera, WWV 86c: Act 1. Scene 3. Notung! Notung!5. Siegfried, opera, WWV 86c: Act 1. Scene 3. Forging Song. Hoho! Hoho! Hohei!6. Siegfried, opera, WWV 86c: Act 1. Scene 3. Notung! Notung!7. Siegfried, opera, WWV 86c: Act 2. Scene 1. Prelude8. Siegfried, opera, WWV 86c: Act 2. Scene 1. In Wald und Nacht9. Siegfried, opera, WWV 86c: Act 2. Scene 1. Zur Neidhöhle fuhr ich bei Nacht10. Siegfried, opera, WWV 86c: Act 2. Scene 1. Fafner! Fafner! Erwache, Wurm!11. Siegfried, opera, WWV 86c: Act 2. Scene 2. Wir sind zur Stelle!12. Siegfried, opera, WWV 86c: Act 2. Scene 2. Daß der mein Vater nicht ist1. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Prelude2. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Welch Licht leuchtet dort?3. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Dämmert der Tag?4. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Dawn5. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Zu neuen Taten, teurer Helde6. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Mehr gabst du, Wunderfrau7. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. O heilige Götter8. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Prologue. Siegfried's Rhine Journey9. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 1. Nun hör, Hagen10. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 1. Ein Weib weiß ich11. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 1. Vom Rhein her tört das H12. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 2. Wer ist Gibichs Sohn?13. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 2. Begrüße froh, o Held14. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 1. Scene 2. Vergäß' ich alles1. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Prelude2. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Frau Sonne sendet lichte3. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Ein Albe führte mich irr4. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Siegfried!5. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Ein goldner Ring glänzt6. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Behalt ihn, Held7. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 1. Weialala leia8. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Hoiho!9. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Trink, Gunther, trink!10. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Mime hieß ein mürrischer11. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. In Leid zu dem Wipfel12. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Was hör' ich?13. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Brünnhilde, heilige Brau14. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 2. Siegfried's Funeral Marc15. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. War das sein Horn?16. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Hoiho! Hoiho!17. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Siegfried - Siegfried er18. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Schweigt eures Jammers j19. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Starke Scheite schichtet20. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Wie Sonne lauter strahlt21. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. O ihr, der Eide ewige Hü22. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Mein Erbe nun nehm' ich23. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Fliegt heim, ihr Raben!24. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Grane, mein Roß, sei mir25. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Act 3. Scene 3. Zurück vom Ring!

• Wykonawca Haitink Bernard
• Data premiery 2008-05-08
• Nośnik CD