Blu-ray

Wagner: Parsifal

Wagner: Parsifal

Christopher Ventris (Parsifal); Waltraud Meier (Kundry); Matti Salminen (Gurnemanz); Thomas Hampson (Amfortas); Tom Fox (Klingsor);

"It is by a long way the most thoughtful, positive and penetrating view of Parsifal that I have encountered." (The Times)

Wagner: Rienzi

Wagner: Rienzi

Torsten Kerl (Rienzi); Marika Schönberg (Irene); Daniela Sindram (Adriano); Richard Wiegold (Colonna); Stefan Heidemann (Orsini); Robert Bork (Cardinal Orvieto ); Marc Heller (Baroncelli );

"Seen and Heard International" ([Steinberg's] reading of Rienzi, too, was full of energy and vitality, well suited to what this music needs. He got a great performance from the Capitole’s orchestra, which is the best in some 400 miles around. The Choirs were also excellent in a very demanding opera for them. [Torsten Kerl] was excellent all along and it can be considered a luxury to have him as Rienzi in Toulouse.)

Wagner: Tannhäuser (Bayreuth)

Wagner: Tannhäuser (Bayreuth)

"Bachtrack" (Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls.)

Wagner: Tristan und Isolde

Wagner: Tristan und Isolde

Nina Stemme (Isolde); Robert Gambill (Tristan); Katarina Karnéus (Brangäne); Bo Skovhus (Kurwenal); René Papa (King Marke); Stephen Gadd (Melot);

"I don’t think that I have ever witnessed a more perfect realisation of a Wagner opera than this superb Tristan und Isolde...[Ji?í B?lohlávek] is scrupulous with the score, and takes his time over it: the pauses and silences are immense and there is no factitious attempt to whip up excitement by speeding...a great and unforgettable occasion." (The Daily Telegraph)

Wagner: Tristan und Isolde

Wagner: Tristan und Isolde

Robert Dean Smith (Tristan); Iréne Theorin (Isolde);

"Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth’s amazing acoustics. Robert Dean Smith is now a fine Tristan with a really beautiful voice...Robert Holl made a moving King Marke, his magnificent bass nobly used. Some of the most beautiful singing came from Clemens Bieber’s Young Seaman at the beginning." (The Stage)