Lohengrin: In Fernem Land, Unnahbar Euren Schritten
Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German compos… Read Full Bio ↴Wilhelm Richard Wagner (22 May 1813 – 13 February 1883) was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his later 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. 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 four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).
His 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.
Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).
Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. 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.
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. 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 four-opera cycle Der Ring des Nibelungen (The Ring of the Nibelung).
His 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.
Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg).
Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. 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.
Lohengrin: In Fernem Land Unnahbar Euren Schritten
Richard Wagner Lyrics
We have lyrics for these tracks by Richard Wagner:
Act III Mild und leise Wie er lächelt Wie das Auge Hold er öffnet Se…
Auf Hohem Felsen Lag Ich Träumend Erik Auf hohem Felsen lag' ich träumend, sah…
Blick ich umher in diesem edlen Kreise Wolfram Blick ich umher in diesem edlen Kreise, w…
Götterdämmerung: Act Three Mild und leise Wie er lächelt Wie das Auge Hold er öffnet Se…
Lohengrin: In Fernem Land, Unnahbar Euren Schritten LOHENGRIN (In feierlicher Verklärung vor sich Herblickend) I…
Mild und leise Mild und leise Wie er lächelt Wie das Auge Hold er öffnet Se…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@PariahWagner
1.
問：羅恩格林他唯一的弱點是什麼？〈What is Lohengrin's only weakness?〉
2.
問：在第三幕中，特爾拉蒙德會去刺殺羅恩格林的真正原因？〈What is the real reason Telramund went to kill Lohengrin in the third act?〉
3.
問：基於什麼理由，羅恩格林非娶愛爾莎為妻不可？〈For what reason did Lohengrin have to marry Elsa?〉
4.
問：羅恩格林與特爾拉蒙德的決鬥大約是在什麼時間？〈When was the duel between Lohengrin and Telramund?〉
5.
問：如果說羅恩格林在搏鬥中獲得勝利是依據「上帝的裁決」，那「上帝的裁決」又是依據什麼？〈If it is said that Lohengrin's victory in the fight is based on "God's judgment", then what is "God's judgment" based on?〉
6.
問：奧特魯德認為愛爾莎終將自食惡果的原因是什麼？〈Why does Ortrud think that Elsa will suffer her own consequences?〉
7.
問：羅恩格林可以拒絕任何人的提問，但唯獨不能拒絕愛爾莎的原因是什麼？〈Lohengrin can refuse anyone's question, but why can't he refuse Elsa?〉
8.
問：羅恩格林他神聖的力量是源自於什麼？能夠保守秘密的力量又來自於什麼？〈Where does Lohengrin's divine power come from? Where does the power to keep a secret come from?〉
9.
問：羅恩格林指控愛爾莎因受蠱惑而背叛，那愛爾莎所受到的蠱惑具體表現在哪個方面？〈Lohengrin accused Elsa of betrayal because of being bewitched, so what specific aspects of Elsa's bewitching are manifested?〉
10.
問：羅恩格林願意為愛爾莎作出犧牲的唯一報酬是什麼？〈What is the only reward that Lohengrin is willing to sacrifice for Elsa?〉
@terrycreagh4103
A constrained and beautiful performance. Piotr one of our best!
@rosy3385
Ce spectacle est splendide ! voix merveilleuses, beaux costumes et beaux décors ! Les mises en scène devraient toujours être aussi belles !!! Les DVD se vendraient mieux !
@myongsooklee9773
Magnifique !!👍👍👍👍👍
@roswitharichter8502
keiner singt diesen Schwanenritter einfühlsamer, zarter und zu Herzen gehend, wie Maestro Piotr Beczala, herrlich ihn dieses Jahr in Bayreuth zu erleben, es war zum niederknien... Bravo Maestro, Sie sind der Beste!!!
@elsalohengrin7777
Sorry, NEIN!!!!! UND FIE HOHEN LSNGEN Töne singt er Belcanto und nicht wagnerisch! Umgangssprachlich gedchtieben, er haut die Töne nur raus! Z.b. Eine Taube, sollte zsrter zurücknehmender in der Stimme sein etc....
@tfleiter
Well…we saw him in Lohengrin at the MET last week and the performance was simply stunning. Forget the recordings and watch it live to understand how beautiful and absolute convincing he is as Lohengrin!
@kerstinkuhnt8490
Danke ❤
@SoulReadmy
Piotrek!!! Piotrek!!! Piotrek!!!
@ayleenx350
Faboulos all actors, Anna Netrebko is the best . Bravo 💖💞👌
@litoboy5
great