A remarkable CD set bringing together seven summers of the Bayreuth Festival.

This epic collection brings together all of Opus Arte's recordings from the Bayreuth Festival. Included are many of Wagner's much-admired operas which show how the mastery of composer, conductor, and performer can combine to create a true musical excellence.

Wagner's epic four-opera cycle, Der Ring des Nibelungen, is a work of extraordinary scale and is given an interpretation that is both thrilling and sensitive by the conductor Christian Thielemann and a cast of renowned Wagner interpreters. Thielemann also presents an incredible account of Der fliegende Holländer in a recording which secured his place as the world's greatest Wagner conductor. Klaus Florian Vogt is staggering in the title role of Lohengrin, with Andris Nelsons bringing out the best in the festival chorus and orchestra. This recording of Tannhäuser, Wagner’s tale of the struggle between spiritual and profane love, and of redemption through love, was described by Opera Journal as ‘outstanding’, whilst Die Meistersinger von Nürnberg, which tells a humorous tale about artistically inclined craftsmen, was described as ‘on an entirely new Wagnerian scale…’ (The Washington Post). The set is completed by the critically-acclaimed recording of Tristan und Isolde starring the leading Wagner exponents Robert Dean Smith and Iréne Theorin in the title roles.

“Despite the ferocious competition, absolutely unmissable.” – Gramophone (Tristan und Isolde)

“Mr. Thielemann drew a probing, radiant and exhilarating musical performance from this orchestra of dedicated instrumentalists." – The New York Times (Der Ring des Nibelungen)

“All six solo singers are musically excellent and dramatically persuasive…” – Gramophone (Lohengrin)

“Kober’s conducting … is outstanding and the chorus are superb…” – Opera Journal (Tannhäuser)

“Michael Volle puts in an exceptional performance...” – Classical Review (Die Meistersinger von
Nürnberg)

“Christian Thielemann and das Festspielorchester received the biggest cheers, and rightly so: their account – thrillingly intense and demonic, while respecting of the sweeter passages – was superlative.” – The Financial Times (Der fliegende Holländer)