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Wagnerowie mają czworo dzieci, których ścieżki kariery wiodą do amerykańskich kręgów rządowych, do międzynarodowego biznesu i do francuskiej Legii cudzoziemskiej. Rozpoczyna się bezpardonowa walka dobra ze złem, gdzie brat staje przeciw siostrze, a siostra przeciw bratu. I tylko jeden człowiek wie, kto tu jest naprawdę dobry, a kto zły...

"Nie o Mary Wagner" to bez wątpienia jeden z najważniejszych filmów na świecie ostatnich lat dotykających problematyki obrony życia. Nie jest to jednak zwykły film edukacyjny mający przekonać widzów, że życie zaczyna się od poczęcia, a aborcja to brutalne morderstwo, choć trudno o obraz, który robi to lepiej. Opowiadając historię kanadyjskiej działaczki pro-life, która spędziła kilka lat w więzieniu, gdyż proponowała rozmowę kobietom udającym się do kliniki aborcyjnej, odkrywamy z przerażeniem potworności przemysłu śmierci. Nie mamy wątpliwości, że jego kapłani nie cofną się już przed niczym. To już nie spór naukowy; przy dzisiejszym stanie wiedzy i techniki badań zaprzeczanie, że życie ludzkie zaczyna się od poczęcia, to pogląd równie uprawniony jak ten, że ziemiajest płaska. To walka między cywilizacją a barbarzyństwem...W zestawie w klasycznym wydaniu otrzymasz: jedną sztukę filmu w twardej oprawie oraz jedną w wydaniu "do rozdawania". Otrzymujesz łącznie 2 płyty DVD.

Monografia poświęcona jest prezentacji recepcji dzieła, a przede wszystkim muzyki, Ryszarda Wagnera we Francji w latach 1813-1883. Pierwszy jej tom obejmuje okres do roku 1883, tj. do śmierci kompozytora. Autor opisuje szczegółowo dwa dłuższe pobyty Wagnera w Paryżu (w latach 1839-1842 i 1859-1861) i kilka krótszych (w latach 1849, 1850, 1853, 1855, 1858, 1861-1862, 1866 i 1867), analizując ewolucję stosunku opinii publicznej, prasy codziennej i czasopism muzycznych, środowisk artystycznych, francuskich melomanów do niemieckiego kompozytora i jego dzieł, z trudem zdobywających uznanie nad Sekwaną.W latach 1839-1842 Ryszard Wagner nie zdołał wystawić w Paryżu żadnej ze swoich oper, a największe sukcesy odniósł jako autor tekstów o tematyce muzycznej ? esejów, recenzji i opowiadań ? publikowanych w "La Revue et Gazette musicale de Paris". Autor przedstawia i obszernie komentuje te teksty.

"Nie o Mary Wagner" to bez wątpienia jeden z najważniejszych filmów na świecie ostatnich lat dotykających problematyki obrony życia. Nie jest to jednak zwykły film edukacyjny mający przekonać widzów, że życie zaczyna się od poczęcia, a aborcja to brutalne morderstwo, choć trudno o obraz, który robi to lepiej. Opowiadając historię kanadyjskiej działaczki pro-life, która spędziła kilka lat w więzieniu, gdyż proponowała rozmowę kobietom udającym się do kliniki aborcyjnej, odkrywamy z przerażeniem potworności przemysłu śmierci. Nie mamy wątpliwości, że jego kapłani nie cofną się już przed niczym. To już nie spór naukowy; przy dzisiejszym stanie wiedzy i techniki badań zaprzeczanie, że życie ludzkie zaczyna się od poczęcia, to pogląd równie uprawniony jak ten, że ziemiajest płaska. To walka między cywilizacją a barbarzyństwem...W zestawie otrzymasz: jedną sztukę filmu w twardej oprawie oraz jedną w wydaniu "do rozdawania". Otrzymujesz łącznie 2 płyty DVD.

Bardzo przystępny i fachowy obraz życia Ryszarda Wagnera ? książkę czyta się jak zajmującą powieść, która wprowadza w niuanse życia i twórczych zmagań a także kontrowersyjnych dróg wybieranych przez Ryszarda Wagnera. Opowiada o jego dzieciństwie w Lipsku i Dreźnie, latach politycznej banicji, niecodziennej przyjaźni z Ludwikiem Bawarskim oraz zrealizowanej z trudem wizji festiwalu w Bayreuth. O jego dwóch małżeństwach oraz kulisach powstania wszystkich jego oper i dzieł literackich

Niniejsza książka powstała po to, aby służyć jako kompendium informacji dotyczących każdego ważnego aspektu osoby Wagnera oraz jego muzyki. Obejmuje ona szeroki zakres zagadnień: kontekst historyczny, intelektualny i muzyczny; znajomych kompozytora oraz innych jemu współczesnych; charakterystykę i osobowość Wagnera; opinie i światopogląd; źródła, z których można czerpać wiedzę na temat jego postaci i twórczości; styl muzyczny i literacki; instrumentację oraz wykonawstwo muzyki Wagnera; wpływ kompozytora na osoby żyjące w tamtych czasach, a także na kolejne pokolenia. W książce znajduje się również chronologicznie uporządkowane kalendarium jego życia, pełna lista dzieł napisanych prozą, wyczerpujący spis oraz omówienie dzieł Wagnera, słownik terminów wagnerowskich oraz rozdział poświęcony mitom otaczającym osobę kompozytora od momentu, w którym zaczął samodzielnie tworzyć zapiski do swojej przyszłej autobiografii. Barry Millington (wstęp)

Today Richard Wagner is best known for his extraordinary operas; any success in other domains was dwarfed by these compositional feats in the world of musical theatre. But Wagner's piano works can be seen to be just as important in understanding the evolution of his style and musical thought, and thus the development of this dominating figure of the 19th century.The collection brings together Wagner's entire output for solo piano. The earliest sonata on the recording is the Piano Sonata in B flat, which shows evidence of Wagner's music education, with much indebted to the Beethovian model as well as to the great pianist-composers Weber and Pleyel. These influences are heard again in the more mature and complex Große Sonate -- a work that Wagner intended to turn into a symphony, though this attempt was later abandoned. A regular dedicatee of Wagner's works was Mathilde Wesendock -- the relationship between the two is still much debated today -- and among the works in this collection, three are dedicated to Mathilde: the 'masterpiece' Eine Sonate für das Album von Frau Mathilde Wesendock, Notenbrief für Mathilde Wesendonck and the 'Schluß zum Vorspiel' from Tristan und Isolde. The 'Tristan chord' at the beginning of the latter has become considered a clear attestation of Wagner's infatuation with Mathilde, for whom he stopped work on the Ring cycle to begin that great testament of love, Tristan und Isolde.The works are performed by the Italian pianist Pier Paolo Vincenzi, whose busy concert schedule takes him all over his native country. He is joined for the Polonaise for 4 hands in D by Federica Ferrati.Other information:- New recording (2012) by one of Italy's leading pianists, Pier Paolo Vincenzi.- Amidst the flood of Wagner issues for the 2013 Wagner's Bicentennial this double CD presents an often hidden aspect of opera-composer Wagner: his complete pianistic output.- Wagner's piano works show his development as a composer during his entire lifespan: from the early Sonata showing influence of Weber and Pleyel, to the "Wagnerian" Grosse Sonate, mature and epic in scope, to later pieces, often written for Mathilde Wesendonck, secretly expressing his love for her. Though not all eternal masterworks, Wagner's piano works show a fascinating aspect of the operatic genius.- Contains comprehensive notes on the music and an artist biography.

One of the most influential and revolutionary works of the 19th century, Tristan und Isolde, Wagner's music drama of 1865, more than any other work shaped the course of music right up to the early years of the 20th century. The famous 'Tristan chord' that begins the work was claimed by some to be a new harmonic language.Wagner was ever the musical magpie, and his mature style culminated from a close study of the music of Beethoven, Weber, Marschner, Spohr, Bellini, Mendelssohn and Liszt. This is not to underestimate the remarkable achievement that is Tristan und Isolde, and when placing it in the pantheon of compositions that changed the musical landscape, it ranks alongside the Eroica Symphony, The Rite of Spring, and Pierrot Lunaire. Tristan und Isolde is a love story set to some of the most erotic and passionate music ever composed.This first recording made by EMI in 1952 for the new LP format and produced by the legendary Walter Legge was the first major recording to feature the young baritone, Dietrich Fischer-Dieskau. Conducting, Furtwängler excelled himself. Although there have been fine recordings since, this recording has been the benchmark for them all, and arguably has not been surpassed.Further information- 'Furtwängler's firm control and masterly conception of the score and his unfailing response to the subtleties of Wagner's writing are shown in page after page ... I have already praised the choice of Ludwig Suthaus for Tristan ... and Flagstad. It is moving beyond words to hear the great singer, with her art at the height of its maturity, as time bids her say farewell to Tristan.' Gramophone- Booklet contains an introduction to the opera and a comprehensive synopsis of the plot

A magnificent performance of Wagner?s seminal masterpiece, at mid-price. Notable above all for the fiery conducting of Carlos Kleiber, which helps create a reading of unsurpassable power and intensity. Soprano Catarina Ligendza gives a reading of accuracy, stamina, and impulsive drama. Helge Brilioth was one of the best Wagner tenors of recent years, although his career was disappointingly short. His Tristan is one of the best. Kurt Moll and Yvonne Minton are both superb as King Marke and Brangäne. Sir Donald McIntyre, who sings Kurwenal, has enjoyed an international career first in London, then at Wagner?s own theater in Bayreuth. His Met debut took place in 1975 in a Wagner role, and over the next twenty-one years he appeared there in 120 performances, exclusively in the German and Slavic repertoires. Live performance, Bayreuth, July 27, 1974.

Simonov, Yuri - Parsifal (Oper In 3 Akten) (AuszugVorspielSimonov, Yuri - Die Walkuere (Oper In 3 Akten) (AuWalkuerenrittSimonov, Yuri - Siegfried (Oper In 3 Akten) (AuszuWaldesrauschenSimonov, Yuri - Gotterdaemmerung (Oper In 1 VorspiSiegfrieds RheinfahrtSiegfrieds TrauermarschSimonov, Yuri - Tristan Und Isolde (Oper In 3 AkteVorspiel - LiebestodPłyta 2.Simonov, Yuri - Rienzi (Oper In 5 Akten) (Auszug)VorspielSimonov, Yuri - Der Fliegende Hollaender (Oper InVorspielSimonov, Yuri - Tannhaeuser (Oper In 3 Akten) (AusVorspielSimonov, Yuri - Lohengrin (Oper In 3 Akten) (AuszuVorspiel (1. Akt)Vorspiel (3. Akt)Simonov, Yuri - Die Meistersinger Von Nuernberg (OVorspielPłyta 3.(Keine Angaben) - Das Liebesverbot (Oper In 2 AkteVorspielSpringer, Alois - Die Feen (Oper In 3 Akten) (AuszVorspielSemkow, Jerzy - Parsifal (Oper In 3 Akten) (AuszugKarfreitagszauberHollreiser, Heinrich - Siegfried-idyll E-dur Wwv 1

An original contribution to the Verdi and Wagner celebrations of 2013: the complete Verdi and Wagner transcriptions by Liszt!'Incredible One' is only one of dozens of adulatory salutations to be found in Liszt's letters to Wagner, and Liszt's devotion to Wagner and his music caused him to devote his purse and his art to Wagner's cause. The Wagner transcriptions are the largest group of Liszt's piano works on operatic themes. Most of them are straightforward transcriptions, but it is the very essence of Liszt's homage that we see in the introductions and codas, where he is able to offer a most personal reflection.The 'transcriptions' and then 'reminiscences' of Verdi's music are (by and large) much more free both with their originals and with his own reputation, dating as they do from a maturity when he no longer felt the need to gratify any expectations of virtuoso brilliance. This is certainly the case of the Danza sacra e Duetto finale from Aida, which Michele Campenella considers 'even more remarkable than the original'.It's not easy to come by this music except either in vast intégrales or as part of more mixed recitals, which makes Campanella's collection all the more welcome. He is a player of vast experience in this music, whose recordings of the composer in time for his anniversary in 2011 were critically acclaimed, including the distinct rarity of a recital on Liszt's own Bechstein (94148): 'Campanella generally opts for spacious tempos, giving the music room to speak, and excels in capturing its sequence of moods and sounds.' BBC Music MagazineOther information:- Recordings made between 2000 and 2012.- Extensive liner notes and biography in English and Italian.- Features performances on an 1892 Steinway & Sons piano.- In a time when there was no recorded sound it was customary to promote the works of a composer by playing transcriptions for solo piano of well known works or excerpts. Super virtuoso Franz Liszt was a champion in this genre, his transcriptions are an art form in themselves, his complex and highly virtuosic piano writing enhanced rather than diminished the impact of the original work.

Gré Brouwenstijn (Sopraan)The Hague Philharmonic OrchestraWillem van Otterloo (Track 1, 2)Vienna Symphony Orchestra (Track 3 - 8)Vienna Cathedral OrchestraRudolf Moralt (Track 9, 10)CD:Ludwig van Beethoven (1770 - 1827)1. Ah, perfido! Op.65 text by Metastasio 13?15Carl Maria von Weber (1786 - 1826)Der Freischütz Kind2. Wie nahte mir der Schlummer ? Leise, leise, fromme Weise 7?56Richard Wagner (1813 - 1883)Tannhäuser3. Dich, teure Halle, grüß? ich wieder 5?034. Allmächt?ge Jungfrau, hör mein Flehen! 5?34Lohengrin5. Einsam in trüben Tagen 4?51Der fliegende Holländer6. Johohoe! Traft ihr das Schiff im Meere an 7?20Giuseppe Verdi (1813 - 1901)Don Carlo Méry/du Locle7. Tu che le vanita 9?57Il trovatore Cammarano8. Timor di me?D?amor sull?ali rosee 4?21La forza del destino Piave9. Son giunta! Grazie, o Dio! 5?2910. Pace, pace, mio Dio! 5?18Total Time: 70'00

Wagner?s most elusive and enigmatic opera, Parsifal has given scholars much to think about it since its premiere in 1882. A cryptic mixture of Christian, pagan and oriental elements, as well as containing some nods to the 19th-century writings of Schopenhauer, the opera follows the medieval legend of the knights of the Holy Grail. With their leader Amfortas gravely injured, the Knights are in trouble, and turn to the unlikely hero Parsifal to steal back the holy spear Amfortas possessed when he was seduced and stabbed by Klingsor, an embittered ex-knight. On the way, Parsifal must battle the temptations of the flower maidens and the manipulative Kundry ? this in addition to him discovering more about his own past. Wagner?s last opera, Parsifal deals centrally with the theme of Mitleid, or compassion, a redemptive quality that is underlined by Wagner?s gloriously sublime score.Featuring a stellar cast, this production was originally released in 1978 and has certainly stood the test of time. René Kollo takes the main role in a release that was lauded by Gramophone for its ?highly distinguished? singing and conducting ?unusual in its swiftness and dramatic candour?. With a first-class supporting cast that includes Gisela Schröter as the devious Kundry and Theo Adam as the despairing Amfortas, this Parsifal marks a wonderful tribute to Wagner?s work of intense humanity.This reissue of the 1975 live recording of Wagner?s Parsifal features a stellar cast: the great René Kollo in the title role, further Theo Adam, Gisela Schröter and Ulrik Cold, and the splendid Rundfunk-Sinfonie-Orchester Leipzig, conducted by Herbert Kegel, a specialist in late romantic repertoire.First issued on Berlin Classics this historic recording received high praise for its ?unusual swiftness and dramatic candour? (Gramophone) and the ?highly distinguished? title role of Rene Kollo.The booklet contains excellent liner notes in English and German, the libretto is available on the Brilliant Classics website.Other information:Recorded in Leipzig?s Kongreßhalle in 1975.Contains extensive notes on the opera in English and German.

43 cd-set Richard WagnerIncluded is a 24 page booklet with cast lists, plot summaries, and background notes. Der Fliegende Hollander (Hotter, Ursuleac, Hann, Willer, Orchester der Bayerischen Staatsoper, Krauss--1944); Tannhauser (Seider, Schech, Paul, Baumer, Klarwein, Orchester der Bayerischen Staatsoper, Heger--1951); Lohengrin (Steber, Varnay, Windgassen, Uhde, Greindl, Orchester der Bayreuther Festspiele, Keilberth--1953); Das Rheingold (Wegner, Mosuraltis, Yang, Smith, Weinschenk, Badische Staatskapelle, Neuhold--1993); Die Walküre (Cook, Olsen, Wegner, Pohl, Nikolova, Badische Staatskapelle, Neuhold--1994); Siegfried (Neumann, Weinschenk, Wegner, Bryjak, Yang, Badische Staatskapelle, Neuhold--); Götterdämmerung (Cook, Brinkmann, Bryjak, Tervo, Ronge, Pohl, Badische Staatskapelle, Neuhold --1995); Rienzi (Treptow, Eipperle, Prybit, Schlüter, RSO Hessen, Zillig--1950); Parsifal (London, Weber, Windgassen, Uhde, Mödl, Orchester der Bayreuther Festspiele, Knappertsbusch--1951); Die Feen (Korhonen, Patchell, Sonntag, Kriscak, Sirkiä, Teatro Comunale di Cagliari Orchestra,Ötvös--1998); Meistersinger (Edelmann, Hopf, Schwarzkopf, Kunz, Unger, Orchester der Bayreuther Festspiele, Karajan--1951); Das Liebesverbot (Walter, Zadek, Dermota, Friedrich, Steffek, Großes Wiener Rundfunkorchester, Heger--1963); Tristan & Isolde (Suthaus, Flagstad, Greindl, Fischer-Dieskau, Thebom, Philharmonia Orchestra, Furtwängler--1952)

When one thinks of Richard Wagner, it is easy to imagine the passion, the soaring melodies and the sheer power of the music written by this revolutionary in the world of 19th-century opera. But the fact is that Wagner could also portray these elements on a much smaller scale and was adept at capturing the more intimate subtleties of the genre known as the Lied. This special collection brings together Wagner?s works for voice and piano.Among the works that appear in the collection are the Wesendonck-Lieder ? a setting of five poems by Mathilde Wesendonck ? two of which, ?Träume? and ?Im Treibhaus?, Wagner describes as studies for Tristan and Isolde, one of his most celebrated operas. These five lieder combine a use of chromaticism, expression and restless, wave-like phrases that have come to be associated with much of the composer?s oeuvre. The disc also boasts an Italian version of the work, with text by Arrigo Boito. Also appearing in the collection are the famed ?Gretchen am Spinnrade? and ?Melodram? ? the final two works of the Sieben Compositionen zu Goethes Faust ? the complex ?Dors, mon enfant? and further works with texts by writers such as Victor Hugo, Georg Sheurlin and Pierre de Ronsard. Each of these works showcases Wagner?s immense talent at the portrayal of emotion through song.Praised by the New York Times as being ?a fine dramatic soprano?, Michela Sburlati is a critically acclaimed singer who has performed in operas all over the world. Recent engagements include the role of Chrysothemis in Richard Strauss?s Elektra (Erl Festival, Austria) and the title role in Tosca at the Kazan Opera (Russia). She won the ?Poggi? Award as critics? and audience?s choice in 2011, teaches lyric singing at the Conservatoire in Perugia and collaborates with the Lyric Opera Centre in Shanghai. Sburlati is accompanied by renowned pianist Marco Scolastra.Other information:- The Wagner year 2013 brought us a wealth of new and re-issues of his greatest operas, therefore this new recording of his songs might be seen as an elegant and refreshing ?encore?: small-scale Lieder, of an intimate nature, but often expressing in just a few minutes as much as in a whole opera scene.- Included are the famous Wesendonck Lieder, in the original German version and in an Italian translation by Boito (Verdi?s librettist), Gretchen am Spinnrade, Mignonne and several other little gems.- Sung by the Italian Michela Sburlati, ?a fine dramatic soprano? (New York Times), accompanied by maestro Marco Scolastra.- Contains extensive liner notes on the works and performer biographies.- Contains sung texts in the sung language.

One of the greatest and most revolutionary composers of the nineteenth century, Richard Wagner transformed the realm of musical drama. Years before his towering successes of the Ring Cycle, Tristan und Isolde and Die Meistersinger von Nürnberg, he wrote the now lesser-performed The Flying Dutchman, an opera that marks the beginning of Wagner's mature works.The opera -- premiered in Dresden in 1843 -- is based on Heinrich Heine's telling of the legend in which the captain of a ghostly vessel, The Flying Dutchman, is doomed to roam the seas for all eternity until he wins the love of a woman. The fate of the Dutchman is said to have struck Wagner as a mirror image of his own disastrous fate in Paris; having expected the city to hail him as a genius, he was left bitterly disappointed. From the outset, the overture depicts the vast expanse of the rolling sea and hints at the despair that is to come, while weaving together other leitmotifs that will reoccur later in the work. Other highlights include Senta's heartfelt ballad from Act II, the Dutchman's soliloquy 'Die Frist ist um' and the raucous shanty that is the Sailors' Chorus.The role of the Dutchman is sung by legendary lyric baritone Dietrich Fischer-Dieskau, described by The Guardian as 'the most influential singer of the 20th century'. Playing his love interest, Senta, is Marianne Schech, while Gottlob Frick takes the role of her father. The soloists are supported by the Chor der deutschen Staatsoper Berlin and the Staatskapelle Berlin, conducted by Franz Konwitschny.Other information:- Recording made in 1960, Grunewaldkirche, Berlin.- One of the classic recordings (1960) of Wagner's Flying Dutchman, now available on Brilliant Classics, in celebration of the Wagner Bicentennial 2013.- A star cast with a glorious Dietrich Fischer Dieskau, the heldentenor Rudolf Schock, Sieglinde Wagner, Gottlob Frick and the incomparable Fritz Wunderlich.

Another first-class production of a major opera, with big-name cast & conductor and remastered sonics. Compare to the other (few) Tannhäuser recordings at twice the price and more. This Tannhäuser has been specially selected from the vast Opera d'Oro catalogue to be issued with a complete libretto in new translation for the Grand Tier series at midprice.An array of top Wagner signers lead the cast under the taut direction of German conductor Wolfgang Sawallisch. Tenor René Kollo, one of the best Wagner tenors of recent times, brings unusual lyricism to the title role. Radiant German soprano Gundula Janowitz is perfectly cast as the saintly heroine Elizabeth. Baritone Wolfgang Brendel sings the famous aria "O du mein holder Abendstern" as beautifully as any ever recorded, by popular acclaim. Mezzo Mignon Dunn, a once under-appreciated singer with a cult following nowadays, is a most alluring Venus.Live performance, Perugia, October 1, 1972

Wagner?s early masterpiece is heard in an authoritative, truly classic performance from the composer?s own theater in Bayreuth, Germany, the shrine and Mecca of the true Wagnerite. Some of the greatest singers of the era lead the cast, including Canadian- American bass-baritone George London (1920 ?1979), the first American ever to sing the Dutchman at Bayreuth; beloved Viennese soprano Leonie Rysanek (1926?1998), known as the ?Queen of Hearts? at the Salzburg Festival; and German bass Josef Greindl (1912?1993), a stalwart of the Deutsche Oper, Berlin, where he sang in 1,369 performances, mostly Wagner! The opera was inspired by Wagner?s reading of a book by Heinrich Heine, Edward Fitzball?s The Flying Dutchman or The Phantom Ship, and Wilhelm Hayff ?s Geisterschiff (Ghost Ship), as well as his own perilous sea voyage in 1839. Der fliegende Holländer is one of the most vivid and colorful of all German Romantic operas, with music that is often hair-raisingly exciting. This masterful performance has long been considered one of the most thrilling ever recorded. Opera d?Oro?s Grand Tier series presents the best-selling Opera d?Oro titles with libretto and deluxe new packaging at mid-price. The Opera d?Oro series has been an unqualified success in the budget category. Now, in response to popular demand, the best titles are being reissued with complete librettos in the original languages and fresh, new English translations, stimulating essays on the operas by eminent music writers, and striking artwork commissioned from Rafal Olbinski. Live performance, 1959.