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Das Rheingold (The Rhine Gold), opera, WWV 86a
Composed by Richard Wagner
Performed by Bayreuth Festival Orchestra
with Kurt Bohme, Gerd Nienstedt, Helga Dernesch, Wolfgang Windgassen, Martti Talvela, Vera Soukupova, Annelies Burmeister, Erwin Wohlfahrt, Dorothea Siebert, Gustav Neidlinger, Theo Adam, Anja Silja, Ruth Hesse, Wieland Wagner, Hermin Esser
Conducted by Karl Bohm
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Die Walküre (The Valkyrie), opera, WWV 86b
Composed by Richard Wagner
Performed by Bayreuth Festival Orchestra
with Liane Synek, Leonie Rysanek, Sieglinde Wagner, Sona Cervena, Wieland Wagner, Helga Dernesch, Gerd Nienstedt, Annelies Burmeister, Theo Adam, Elisabeth Schartel, James King, Danica Mastilovic, Gertraud Hopf, Birgit Nilsson
Conducted by Karl Bohm
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Siegfried, opera, WWV 86c
Composed by Richard Wagner
Performed by Bayreuth Festival Orchestra
with Theo Adam, Kurt Bohme, Erika Koth, Wolfgang Windgassen, Vera Soukupova, Erwin Wohlfahrt, Gustav Neidlinger, Birgit Nilsson, Wieland Wagner
Conducted by Karl Bohm
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Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d
Composed by Richard Wagner
Performed by Bayreuth Festival Orchestra
with Helga Dernesch, Thomas Stewart, Annelies Burmeister, Marga Hoffgen, Anja Silja, Ludmila Dvorakova, Wolfgang Windgassen, Sieglinde Wagner, Dorothea Siebert, Gustav Neidlinger, Birgit Nilsson, Josef Greindl, Martha Modl, Wieland Wagner
Conducted by Karl Bohm
Editorial Reviews
Amazon.com
These 1966/7 Bayreuth performances showcase veteran Bayreuth stalwarts giving their all in face of dwindling vocal resources (Greindl, Neidlinger, Mödl & Windgassen) alongside Birgit Nilsson and James King in more vibrant, communicative fettle than in the studio under Solti. Karl Böhm's pacing may seem unduly hectic at times, yet he is a stickler for Wagner's directives for relationships between tempos. The orchestral execution is a tad rough around the edges, but Philips's miking captures a more ideal pit/stage balance than in the contemporaneous Solti and Karajan studio Rings. Note that a cheaper edition of this set is available on import, but minus the texts included here. --Jed Distler
There are certainly enough reviews praising this recording and its counterpart, the Bayreuth Tristan, so one more can hardly add anything. I would only say that of all the Ring recordings I have encountered, this one is the least idiosyncratic and most true, and yet it could have been realized by noone other than Karl Bohm.
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
This Ring is the first Bayreuth Ring officially recorded and the sound is excellent and well-balanced compared to other Rings of the era. He is also an outstanding Ring conductor in that his use of fast tempi, passion, lyricism, and phrasing that sings and sometimes almost dances creates a very theatrical atmosphere and offers amazing musical richness. Listen to the opening bars of Rheingold and his Gotterdammerung Prelude, and you will know what I mean. He and Wieland Wagner have created a stage drama that is unsurpassed in dramatic value. His Ring displays wonderful humanity and the rendering of each character's feelings has never been so alive, not even in Solti or Karajan's readings. Highly recommended.
The vocals come through clearly and for a live performance the sound is very clean. My edition came with the lyrics in German only, so unless your German is reasonably good you will need to find an English translation somewhere to help you out, but this is a small quibble. If you know the storyline you'll be able to follow things reasonably well. Having caught the Wagner bug at age 15 I can once again feel the bug takingi ts effect:-)
The cycle also suffered from Levine's extremely leisurely pace, which seems slack rather than profound.
That said, DG has made a silk purse of of half a sow's ear. These excerpts show off the best in Levine's approach and skirt the worst. One would have liked to hear much more of James Morris's Wotan, since he was by far the star of the show. Hildegard Behrens is heard to good effect in the Immolaiton Scene that ends the cycle, as well as the Awakening Scene from Siegfried. The orchestral excerpts are gorgeously played, and even though I would not rank any single opera from Levine's Ring as the best on record, this "compact Ring" is excellent on its own.
What results is a compelling but not overwhelming exhibition disc for James Morris and Hildegard Behrens, the former as a gravelly, sonorous Wotan, and the latter as a svelte, willowy Brünnhilde. Morris is certainly superior to the archaic, defeated Hans Hotter of Solti's Die Walküre (and, arguably, Theo Adam in Böhm's and Thomas Stewart in Karajan's) during his farewell to Brünnhilde ("Der Augen leuchtendes Paar"). Behrens is no Nilsson (nor a Dernesch, nor a Crespin) but she is, nonetheless, a very lovely Valkyrie, both in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht!") and in the Immolation Scene ("Fliegt heim, ihr Raben!"). Reiner Goldberg is competent as Siegfried in the Waldweben ("Aber, wie sah meine Mutter wohl aus?"), but he is far removed from the realms of Wolfgang Windgassen and Jess Thomas. Jessye Norman is a mature but lyrically radiant Sieglinde. Kathleen Battle supplies her sugary, enchanting tone for the small but potent role of the Woodbird. Siegfried Jerusalem makes a brief appearance as Loge (in a definitely less caricatured capacity than Gerhard Stolze). Mark Baker is a plain but virile Froh. Hei-Kyung Hong, Diane Kesling, and Meredith Parsons are particularly harmonious as the Rheintöchter.
However, the rest of the soloists are barely nonexistent. Christa Ludwig is insultingly truncated as Fricka. Ekkehard Wlaschiha's Alberich (which rivals the interpretations of Gustav Neidlinger and Zoltan Kélémén) is heard only twice. Matti Salminen's Hagen is limited to a sole outburst of "Zurück vom Ring!" Other noted performances from Levine's Ring are deleted entirely: Heinz Zednik's slimy but very human Mime, Kurt Moll's baleful Hunding, Cheryl Studer's Gutrune, and Bernd Weikl's Gunther.
In spite of everything, this "compact Ring" is an item to have simply for Levine's presentation of the Walkürenritt ("Hojotoho! Hojotoho!"). The Metropolitan Opera Orchestra is in superb form and the eight furious, calamitous voices of Wotan's battle maidens (supplied by Marita Napier, Linda Kelm, Reinhild Runkel, Ruthild Engert, Marilyn Mims, Anne Wilkens, Kesling, and Parsons) mesh in a tapestry of thunderous doom and emotion.
NOTE: If you like this CD, then trust me--just buy the whole "Ring" set conducted by Levine. It's expensive (over $100), but it's 14 CDs and one of the best musical investments you'll ever make.
This also makes a good introduction.
This Ring's acting is committed, for which the director, Harry Kupfer, gets the credit. Occasionally Maestro Barenboim balances an orchestral chord or two in a novel way, for which he can take credit. Otherwise this is poor stuff.
Daniel Barenboim, for all his idolatry of Wilhelm Furtwangler, has never figured out how to get from here to there with any feeling of naturalness or inevitability. His awkward pacing makes him no better than mediocre among the Wagner conductors of the last 50 years. He is not at all competitive with Krauss, Keilberth, Kempe, Konwitschny, Bohm, Sawallisch, Solti or Karajan, all of whom make better sense of Wagner's ebb and flow. He is not even competitive with Leinsdorf or Leitner or Hollreiser. A few pretty sounds from the pit do not compensate for a persistent inability to make one section of music follow organically from another.
The singing in this production is bearable on TV, but not so on CD. Siegfried Jerusalem acquits his parched, undersized Siegfried with dignity. However, Anne Evans sounds tremulous and small as Brunnhilde and John Tomlinson declaims brutally at the expense of the musical line, to the utter destruction of Wotan's Farewell. The two of them sound like an Annina and Baron Douphol out of "La Traviata" who've been encouraged by treacherous management to stray out of their league.
Nadine Secunde as Sieglinde is in terrible vocal shape, and Poul Elming has trouble with the top notes as Siegmund, the lowest lying tenor part Wagner ever wrote.
Watch them on DVD instead, and if you must have a CD set, pick up the Bohm at a bargain price, where only a few singers have wobbles instead of all of them, and most have vocal reserves to call upon instead of sounding like they're about to die at any minute. The end of "Walkure" Act One makes for a devastating comparison - Leonie Rysanek and James King are far better.
Then save up your lunch money and get the Keilberth Ring on Testament. Listen to Hans Hotter actually sing Wotan's Farewell, and compare it to John Tomlinson's parlando bellowing. Hotter is so far superior, they're not in the same Valhalla.
A Ferrari and a lawnmower can both do 4 mph. But one can open up with security and confidence and dazzle you, while the other can't ever do any more than 4 mph. That's the difference between Birgit Nilsson's all-enveloping Immolation Scene, where she sounds like she could do the whole thing over again as an encore, and tiny-voiced Anne Evans, who sounds like she'd collapse just at the suggestion.
This set and the Boulez should both survive into a long future as DVDs, but the CDs for both are inadequate, even annoying souvenirs of the weakest part of their productions, the singing.
Here's a staggering bargain.
These much-praised Bayreuth performances have been available on Teldec since 1994; now Warner has reissued them in a single box and they're an irresistible value: 1/2 the cost, 1/3 the shelf space, still accompanied by 4 deluxe booklets (containing complete German librettos, William Mann's English translations, essays, interviews, performance photos, and 100+ leitmotifs in the margins), plus there's a bonus DVD with generous excerpts from the Unitel video. Rival sets with comparable amenities (Karajan, Solti, Goodall, Keilberth) sell for 2-3 times as much. Budget-priced competitors (the admirable Janowski set, the more variable traversals of Boehm, Levine, Haitink, and Sawallisch) offer only meager pamphlets with plot summaries.
ENGINEERING
Unitel filmed this production during off hours at the 1991-92 Bayreuth festivals - the full staging with no audience, performances featuring live-event energy under controlled conditions. The digital stereo is the lushest I've enjoyed on any Ring recording: Bayreuth's famed acoustic is palpable, there's real room sound, immediacy, and three-dimensionality (but a shade more depth and airiness in '91 - compare the timpani figures in the Todesverkundigung and Siegfried's death scene). Stage noises are mostly unobtrusive: occasional faint shufflings, Hunding banging assorted props in Walkuere, otherwise comparatively few distractions.
CONDUCTOR & ORCHESTRA
These CDs furnish some of the most sumptuous instrumental and choral work you'll hear on ANY Wagner recording. Furtwaengler may be one of his deities, but here Barenboim is the master colorist, closer to Karajan, even to Stokowski. At Bruennhilde's awakening the strings are creamy; launching Goetterdaemmerung Act 3, the brass have a cushioned radiance. More than any recent competitor, Barenboim is supple and specific from beat to beat, turning up subtleties heard nowhere else. In Rhinegold sc. 2 where the gods grow old: the strings sound numb, drained, and fragile. Or Fasolt's murder: an ugly surprise, the curse motive in the brass icy and vibratoless. Or the woodwind asides throughout Siegfried Act 1: Mozartean in their mischief. Or the fatal turning point at "In kampfe nicht": while Bruennhilde teeters on the edge of the pit, the whole orchestra holds its breath. As for the big showpieces - Rheingold's coda, the valkyrie ride, the Siegfried Act 3 prelude - they're breathtakingly powerful yet deft and transparent. In short, there's no more illuminating statement of this vast music on disk.
CAST
The production introduced an all-new, prime-of-life cast, and for continuous listenability Barenboim's lineup outpoints even Janowski's. With his huge, dark, rolling sound, Tomlinson is a stupendous Wotan, every inch the fearsome warlord of myth. Yes, he's a true bass and his high Fs are the end of the line, but he's a consummate theater animal, luxuriant in the "Abendlich strahlt" and Farewell, hypnotic with his big interior monologue, sly and amusing in his Wanderer persona; unquestionably this is a major portrayal. As Bruennhilde, Evans sounds young, sensitive, and technically impeccable - dead-center intonation, effortless slurs in the war cry, consistently lovely tone, and a glowing top that easily rides the orchestra. Her caliber is light for the role, but in the long-lined lyric passages she yields to nobody: "War es so schmaehlich" and "Ewig war ich" are as poised and poignant as I've heard them.
As lead tenor, Jerusalem's adroit musicianship, vivid declamation, and burnished tone are a further pleasure, and he deserves an award for playing his reed-pipe scene in earnest rather than for laughs - Siegfried's loneliness and befuddlement become sincerely touching. True, his voice wearies during the wooing sequence, but he's on form for all of Goetterdaemmerung. Also, his Volsung parents are an exceptional pair: Elming's tenor is fresh and gleaming, Secunde has a sultry soprano, and along with Hoelle's ferocious Hunding, they do exhilarating work in Walkuere Act 1.
Hoelle's Fasolt is better natured but just as granitic; in fact the low voices here are close to superb: Kang is insidious as Fafner and Hagen - a fine-grained, well-knit instrument from top to bottom. As for Alberich, von Kannen is positively virtuosic: his sound isn't plush, but it's firm and in charge over both octaves, he sells the text with immense skill, and the curse is white-hot. Only Brinkmann (Gunther) disappoints, a good baritone behaving badly - attractive in his ariosos, pinched and strained when he tries to get dramatic.
The rest are competitive. Clark's reedy tenor doesn't keep his Loge and Mime from being flamboyantly entertaining. Bundschuh's dusky timbre suggests a forty-something Gutrune, but she's decent listening. Barenboim's other women are all capable: Meier's Waltraute boasts crisp diction, compact tone, and flawless tuning, Svenden's Erda is similarly alert and appealing, Finnie's a high-energy Fricka with potent top notes. Since these ladies double the bit parts, we also get world-class teams of norns, valkyries, and rhinemaidens.
VERDICT
In sum, the total achievement here is formidable - unsurpassed engineering, top-drawer singing, exquisite orchestral playing, uniquely evocative conducting ... and lavish libretto booklets. Verdict: the Ring with the most bang for your buck.
This superb collection must be included as an obligated reference at the moment you decide to have one of the most complete and extraordinary documents in the Opera History. There is any hole; a superb cast Tomlinson is one the greatest Wotan, the memorable stages, the ravishing illumination, the impressive level of expressiveness of every single character, the incisiveness of the main motifs, the grimace language, the superb eloquence of every little line and the absorbing dramatis personae make of this excellent set a must-have.
Don't miss it under any single pretext this portentous and so long expected Ring.
Most rings live and die with Wotan. For those who are introduced to the ring with Levines DVD, it is difficult to tolerate anything less than James Morris' outstanding singing, full of full throated and tender legato which tends to reveal a caring fatherly Wotan. Compare Morris and BB's Wotan in Der Alte Sturme and you will find Tomlinsons over annunciation quite unqualified and interfering with the natural beauty and flow of the music. Though overall Tomlinson doesn quite match up to Morris, he is an outstanding Wotan overall. His voice really grows on you as the cycle progresses and it is always apparent how well Tomlinson knows Wotan inside and out. His farewell at the end of Walkure is marvelous, a true test for any Wotan, and he really lets go emotionally and vocally. Despite starting off in rheingold with, as stated before, a tendency to talk instead of sing, which is natural and almost unnoticable when watching the DVD, I tended to long for Morris or Hotter's interpretation with Krauss and KNA. But as this review will be for amateur only, I will not go into the old recording very much and I will also consider price.
BB's brunnhilde is much finer than Behrens on dvd, though on the cd, behrens voice is more powerful than it was several years later when the DVDs were recorded(she is beyond her prime in both).
Of all modern versions, for those who are new to the ring, I would recomend Levine's DVD versions first and foremost. Despite Behrens, everything else is first class. The production is romantic so that first timers will see a something similar to what Wagner intended and what their mind's eye may be predicting. The BB dvd's are complete polar opposites of that visual interpretation, not for those new to the ring.
After aquiring Levine's dvd, I would recomend this set, over Solti's(yes, over Solti's and Karajan's) though not over Bohms. Bohm happens to play with the same orchestra which is interesting to hear this always superb group forty years apart. Though the Bohm doesnt have Hotter, and all who are interested in the Ring must, MUST, hear Hotter's portrayal, though STAY AWAY FROM SOLTI"S DIE WALKURE_it is dreadful after the first act and Hotter is past his prime and sounds as if he is being recorded in an underwater grotto.
For those new to the ring
1. Buy Levine's DVD set
2. Buy this or Bohm's on CD.
fine
In fact, my sympathy, appreciation, affection and ultimately love for Der Ring des Nibelungen in general is in fact directly related to my love and appreciation for the 'Barenboim Ring', recorded in 1991 (Das Rheingold & Gotterdammerung) and 1992 (Die Walkure & Siegfried). With me, things as big and complex as the 'Ring' have to take time to grow on me, and the Barenboim Ring has captivated me from the start. Why I especially love the 'Barenboim Ring' has much to do with the singing, but more about that a little later. First a word or two about maybe the greatest 'stars of the show' here: conductor and orchestra ...
ORCHESTRA AND CONDUCTOR. From what I have read, Daniel Barenboim seems to be becoming accepted among the ranks of the truly great Wagner conductors. It is of course also a matter of taste what approach one loves best in this music, but anyhow, aside from any 'accepted views', I have just always thought his Wagner the best. Just a matter of taste, indeed.
To me, maestro Barenboim makes the music sound approprately massive and stately, but at the same time does he somehow maintain (how truly special!) an orchestral sound that is somehow crisply articulated, fresh and transparent, but resplendent with saturated color. As a complete musical 'illiterate' (I can't read music) I don't have a grasp of the musical 'reasoning' that undoubtably must lie behind maestro Barenboim's approach, but to me it all 'feels' just right and in complete harmony. A grand but clear-headed vision. A Parthenon or a Pantheon in music. I don't know, but it may also have to do with the (custom built ;-) Bayreuther Festspielhaus' superbly appropriate acoustics, causing a kind of nicely rounded, resounding but polished sound.
Also, maestro Barenboim's tempi are generally exactly right for my own taste: never too fast (why do some people find his tempi too slow?) but always 'charged' with the right amount of dramatic tension. (But then again, I can't read music, so how would I know what would be the 'right' tempo? Oh, well ...) A clear-headed, but at the same time sweeping, grand vision of Wagner's music that does not revel in the music for its own sake, but above all things lets the music speak as a purely dramatic narrative to underline and focus on the drama that is going on on stage, with some of the most beautiful and at the same time dramatic singers I ever heard.
The orchestra must also, in a sense, be able to 'speak for itself' in this music, and indeed it does so here, as eloquently as one could ever wish, I believe, and sometimes so enthousiastically, that voices are slightly drowned out, even, by its sheer power in climaxes :-)
THE SINGERS. Often, emotions color my view of what I see and hear on certain moments. It's just how (and who) I am. And also, matters of personal taste come 'in the way'. I will not try to apologize for either ;-) But I will try to describe as clearly as I am able - however lacking and personally biased the end result may be - what I find so wonderful about this recorded performance of Der Ring des Nibelungen.
Well, most of the singers are to my ears simply the best for their parts, utterly convincing, and often very moving. All of the 'main characters' are singers that I like or indeed love. We have, among many others, the towering talents of the excellent actor-singer Graham Clark (Mime), the energetic and heroic Siegfried by Siegfried Jerusalem, the enormously expressive, deeply resounding, deeply emotional Wotan by John Tomlinson, and we have the beautifully humane and warmly sympathetic Brunnhilde by Anne Evans. I truly adore Anne Evans' sweet but intelligent Brunnhilde. Her singing is engagingly sympathetic and completely captivating. In climaxes her voice really soars (for example the 'immolation scene'), and she never sounds strained, but she is I think at her best especially when allowed to really show all her nuanced beauty and color during softer passages like Brunnhilde's 'duets' with Wotan or Siegmund (take for example "Siegmund! sieh auf mich!"). I am very fond of Siegfried Jerusalem's Siegfried, and singing together with Anne Evans' Brunnhilde in Act III of Siegfried and Act I of Gotterdammerung, they sound like the true 'dream-pair' to me, reaching - in 'threesome' with the orchestra - highest states of harmony and ecstacy. Also, the 'duets' of Wotan and Brunnhilde in Die Walkure are powerful, but at the same time deeply emotionally engaged. (Seeing them together on the DVD's certainly adds to the experience!) Furthermore, I very much enjoy Linda Finnie's full-voiced, bitingly aggressive Fricka (just great in her emotional confrontation with Wotan in Act II of Die Walkure) and Birgitta Svenden's resounding and melancholy Erda ...
AS A SIDE NOTE. Anyone who loves this specific audio-only version of Der Ring des Nibelungen, but has never before seen it (like I myself until recently), should also try the magnificent DVD's of these operas. I for one was truly enraptured, at last also being able to SEE all of the artists that I have come to love, singing (and acting) together within this flabbergastingly evocative stage design! The design is often quite bare, with completely dark background (indeed a feeling of a 'road into nowhere'), which causes, with this particular viewer at least, a sense of timelesness, puzzlement and even of mystery(!), which IMHO is quite appropriate for these larger-than-life operas, the abstractness of the design leaving a lot to your imagination and making them feel more timeless or 'pure', above and beyond any 'Zeitgeist', allowing the listener to focus more on their essential ideas and (inter-personal) emotions.
Talking about emotions, what an enormous 'bonus' to see for example John Tomlinson sing/act his part! His expressive acting does add even more depth to his already deeply moving, highly charged singing. Now that I am finally also able to see this 'Ring' on DVD, it really IMHO enhances the experience of listening to 'just' this audio-only version, which to me is also a 'complete and full' experience in itself, using a bit of imagination (but then again, how much imagination does one need with this great music, so gorgeously performed?), being able to visualize with the mind's eye the close interaction between Wotan, Brunnhilde, Siegfried, et al.
THE RECORDED SOUND. Just a few comments about the sound on these CD's to end this review. I think it is the best ever for this format (and for as far as I have ever heard). It really fills up the whole aural stage lengthwise and sideways! The effect is as if you were sitting front row seat, I guess. Every orchestral nuance and inflection is brilliantly and sumptuously captured and reproduced on CD.
The recorded sound has always been so deep, sonorous and full as to really at some moments take your breath away, especially in the way that the singers' voices are clearly defined (almost three-dimensionally) within the acoustic space (the depth of the Bayreuth stage is almost palpable). But have they maybe remastered it? It seems to me that the sound on this re-issue is even clearer and finer than the original 1993 Teldec issue, with the acoustics of the Bayreuth theatre almost palpable, enhancing the characteristicly sonorous sound of the Bayreuther Festspielorchester. It is as if orchestral textures are even more velvety and clear and finely balanced. The singers seem to be even more in focus as well. (This also means that we are able to hear a little bit more of the whispering of the prompter in Gotterdammerung, which for some could be a distraction, I can imagine.)
Also, I personally think that it is a blessing that this is a 'studio'-recording, so that the sense of mystery (and 'suspension of disbelief') is never broken by intruding audience noises. This I find especially necessary during the softer passages and intense dialogues between for example Brunnhilde & Siegmund and Wotan & Brunnhilde ...
All in all, a magnificent set, this 'Barenboim Ring' - truly a musical milestone - and truly indispensable (beside the likewise indispensible DVD's)! For better or worse, I have really fallen in love with this 'Ring', mostly for the gorgeous (exquisitely recorded) orchestral sound under Daniel Barenboim and the magnificent leading roles. And now, last but not least, you can have the whole 'Barenboim Ring' on 14 CD's (+ bonus DVD with highlights) for the price of no more than about 4!
(Postscriptum: the customer image I added is taken from the DVD of Siegfried, and not from the bonus DVD in this set.)
J.W.T.
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Some have mentioned the importance of the instrumental work in the Ring series. Indeed, this is critical for any successful performance, given the long stretches of instrumental work (e.g., "Siegfried's Rhine Journey" in "Gotterdammerung"). And von Karajan conducts the entire series with style, intelligence, and musicality. Act I, Scene 2 of "Die Walkure" is one of the greatest moments in opera, And the Berlin Philharmonic with von Karajan at its helm plays this in a manner supporting the singers, consistent with the unfolding drama, and in with absolutely scintillating musicality. This segment represents one of the "greatest hits" in all of recorded opera.
The pluses of this version include the conductor and orchestra, of course. Also, the stable of singers is up to the task. Jon Vickers makes for a credible Siegmund and Gundula Janowitz handles Sieglinde's role well. Regine Crespin, in "Die Walkure," is adequate as Brunnhilde, but Helga Dernesch really "steps up to the plate" in the later operas. Siegfried is sung by two different tenors--Jess Thomas in "Siegfried" and Helge Brilioth in "Gotterdammerung." Wotan is well sung by the great Dietrich Fischer-Dieskau in "Das Rheingold" and by Thomas Stewart in "Die Walkure" and "Siegfried." The secondary players are strong as well.
The whole lives up to the hype surrounding this version. Again, this ranks as one of the premier recorded versions of the Ring cycle, with Solti's and Boulez' version (and one might also listen to Toscanini's 1941 recorded versions of Act I, Scene 2 of "Die Walkure" and two scenes in "Gotterdammerung," featuring Helen Traubel and Lauritz Melchior for some historical perspective). If one wishes to invest a fair chunk of cash in a recording of the full cycle, then this ranks as one of the best investments around.
Listening to this Ring is a seductive experience. The Berlin Phil are, without a doubt (and particularly under Karajan) the best sounding orchestra in the world. Additionally, Karajan's approach is generally very musically cogent. The 'chamber Ring' titles bandied about aren't without reason.
Upon opening the score, however, the gross inaccuracy of this Ring becomes immediately apparent. Karajan, either through his hubris-inspired need to be an auteur, or through his uncompromising pursuit of a beautiful sound, actively suppresses important lines on the page, ignoring the relevant dynamic markings. The Karajan Rheingold is the worst in this regard, with many important lines simply inaudible above what Karajan (not Wagner) deemed most important.
Allow me to qualify this: Wagner's score is extraordinarily complex, with often multiple layers assigned the same dynamic. I recognise that a conductor (well... a good conductor, anyway) will produce a hierarchy of importance for these. What Karajan has not understood, however, is that they are all STILL IMPORTANT. To suppress a line to the point of inaudibility grossly misrepresents Wagner's intent which, for the most part, is relatively clear.
Karajan's approach, particularly in the first two operas, is also a lot more recitative-like than most others. This works in some places, giving the voice absolute primacy over the music, but in others it interferes with the rhythmic flow Wagner has set up (Die Walkure, Act III Sc 1, and Das Rheingold Sc 1 come to mind here).
Ultimately, this is probably the 'shiniest' Ring on record, but for me that is simply not enough.
The Solti is, as many have pointed out, not always played so well (the intonation is shocking), but one always has the sense that he has understood Wagner much better than Karajan has. Furtwangler's RAI recording is masterfully interpreted (Das Rheingold sounds like a single, loooooong phrase - superb) but appallingly played. The Boulez is really quite remarkable. The singers are never fantastic, and the Chereau production downplays any heroism at all, but if you are looking for a 'chamber' Ring, this is the one. The forthcoming Adelaide Ring, conducted by Asher Fisch was truly breathtaking, and may become the definitive cycle of this era.
I like to alternate listenings of Boulez and Solti - somewhere in between lies the perfect Ring.
If we looked back into history and saw the relationship between Furtwangler and a certain K who was soon to take over the Berlin Philharmonic upon the aging conductor's death in 1954, we would find it quite hilarious that Wilhelm and K had a thick cloud of tension hovering in betweent them. Furtwangler loathed K with a passion, and he would never refer to him by name, using the phrase "that man K." Surely, there was something in this K that made the great Wagnerian Furtwangler feel threatened in the podium. And you know what? There was.
I think beyond any other Wagnerian conductor in history, Karajan made the greatest impression on the recordings and performances he conducted during his lifetime. Karajan knew the dynamics of a Wagnerian orchestra perfectly and used this to his advantage to create a cascading waterfall of some of the world's greatest music. His Tristan und Isolde, in my opinion, surpasses Furtwangler's recording in many aspects. His Meistersinger reigns supreme, his live Tannhauser is a revelation, his Parsifal truly is a mystical recording to behold, his Dutchman highly energizing, and most of all, his Ring, without a doubt, is the most beautiful and most moving trilogy I've ever heard.
It took me a great length of time upon which Ring I must herald as the greatest, because surely, Solti, Furtwangler, Krauss, Knappertsbusch, Bohm, and many others had a say on this epic. None of them though, except Furtwangler, could be placed beside Karajan in his great vision of what is considered to be the greatest work of art in the history of music. Many would praise the Solti Ring as a classic, and on this matter I would concede with the majority. He does create a great Ring, but I cannot agree entirely with his vision. The music doesn't flow like the way I think it should, and if you were to compare Karajan's work with Solti's, there is no parallel. Karajan's cast is just as seasoned as Solti's and in many ways surpasses them in interpretation. His brilliant choice of the youthful Crespin and the sexy, voluptuous-sounding Dernesch as his Brunnhildes creates a shifting portrayal of the woman and the warrior and the lover that is our favorite Valkyrie, and both singers display more emotion than Birgit Nilsson does. Jess Thomas suits the young, brash Siegfried, while Helge Brilioth recreates a mature, more insightful hero in the Gotterdammerung Siegfried. Dieskau is a marvel as Wotan, in the rank of London, while the highly underrated Stewart, in my opinion, is musically and interpretively, the equal of Hotter. Gundula Janowitz is a marvel as Sieglinde, the greatest I've ever heard, and Jon Vickers is the most touching Siegmund on record. Christa Ludwig gives an even better portrayal of Waltraute (and her second Norn is amazing!) than in Solti's recording. Gerhard Stolze gives a greater interpretation of the Mime, and Karl Ridderbusch and Zoltan Kelemen make their bass roles extremely believable. The minor roles of the Valkyries and the Rhine Maidens all receive amazing singers. It is indeed a great cast, and in many ways surpasses that of Solti's use of veteran singers past their prime. In my opinion, Karajan's cast gives a most human and moving portrayal.
Many would disagree with me in agreeing with Herbert's vision for this grand opera. I think that for theater to exist, the music must come first to create that certain atmosphere which makes the element come to life. Solti may have some of the best singers, but his tempo lacks the fluidity of Karajan. He has a great recording in his hands, but then I would prefer Karajan for the atmosphere he creates. So they say that Karajan lacks a sense of theater and goes only for the surface beauty of the work. He does create a Ring brimming with surface beauty, but if you listen to his music attentively, you will find that within each bar, each orchestral nuance, there is a deeper philosophical meaning that Wagner intended to bring out of the great Teutonic legend, and I think Karajan achieved that vision.
If I were to choose only one Ring, I would buy this, and thankfully I have it. If I were to look for another Ring though, I would not go to Solti. The silver medal would go to the La Scala Ring so marvelously conducted by Furtwangler with Kirsten Flagstad as Brunnhilde. Surely, the great Wagnerian in all his jealousy and rage saw something in K, and I'm glad I saw it too.
If you already own the EMI version you'll appreciate the difference. EMI's sound is smoother, with less hiss, but dull and flat - all a result of their filtering. Gebhardt's sound is more raw, but far more realistic and alive. Furtwangler was the greatest interpreter of the Ring and this performance, even more than the 1950 La Scala Ring (which has also been remastered by Gebhardt), is his greatest on records.
I have Keilberth's 1952/Archipel, Keilberth's 1953/Andromeda and had at one time the Krauss 1953/Gala release, btw the Krauss I see has been just re-issued. I no longer own the Krauss, it was a damaged set I bought, and gave it away, I have no desire to re-purchase it.
You can find a few comments I made on the 2 Keilberth recordings here on amazon. Both of which refer you to this recording, as my final comments on these 3 Ring recordings.
How I came across the Keilberth 52, then the 53, is a long story, but luckily I choose both over the dozens of other highly recommended recordings.
No one mentions the 2 Keilberth, and there is good reason why that puzzling situation is so. Very few folks have even heard the recordings, yet these same "experts" make bold and daring comments on all the other avaliable Rings, you know "The Popular Ones" (hyped-over)
Now to return to this Furtwangler recording.
I wish to make a few comments on the many reviews given here.
Brown/Dec/02: On his preference for mono over stereo, I also agree. Always I have prefered Mozart's operas in mono, the 50's/Furtwangler, Bohm over modern stereo. Mono gives one a feeling of integrity and wholemess, as if the music and casting are all spun from a single fabric. I do not wish for clear high toned sound, but prefer the 360 degree image that mono provides.
Though obviously poor mono sound like the 53 Krauss is totally unacceptable.
Brown also correctly points out that this Furtwangler RIA/Italian orch is in fact not an inferior orch as some would have us believe. This RAI orch is on equal/surpassing at times the Keilberth 52 and even the ever-so- slightly better 1953/Keilberth Bayreuth.
IOW this is a fabulous orch...and agin as I'm listeng its possible I prefer this to both Keilberth's....Furtwangler is for me genius here and in Mozart's operas.
Adidaire/June/2000: "you actually hear phrases and sounds that other recordings fail to bring out" Correct. Furtwangler's genius comes alive.
Alexksander/June 20/05: makes mention that though there is no libretto, one can be purchased online. I suggest you go to Able Used Books and look up Andrew Porter/english translation of the Ring.
He also mentions that this mono is not satisfying, abit "dry". As I mentioned above I prefer mono much more over stereo in opera, and this mono is on par with both Keilberth, and far surpasses the Krauss 53/muddy sound there. The old mono recordings in opera give one a image of a 'complete" world, a rotundrum as Jung uses the idea. A mythical, mysrery sense enters in, as orch and voices blend close together.
Queen Margo: "Krauss is my second choice". Well not for me, and you'll have to make up your own opinion if you care to. Though the Krauss is acclaimed by many as "simply and clearly the finest EVER", You'll just have to go and buy the newly re-released Krauss and decide for yourself. I',m not going to get in any argument with the die-hard Krauss fans (diehard , meaning they refuse to even consider the 2 Keilberth(at least Todd has heard the 52, but not the 53, and doubtful he has heard this Furtwangler), and Gramophone places the Krauss as "possible the finest". You will have to hear the 4 and make up your own mind.
Obviously the Queen has not heard either Keilberth.
Hadijimins/Feb 22/05: I agree with him that digital "remastering" of old classics can take the life out of a recording, as he correctly points out, "the depth is gone...flat". This is so true,a s remastering "Filters out the impurities" but in so doing filters out that sparkle of "life".
He goes on to mention this EMI recording " instruments lack natural timbre"
True it is abit flat, but I suggest you try a tube amp, which does help in cases like this.
A Music Fan/Feb8/05: "In short this Furtwangler Ring lives due to its highly dramatic character...and isn't this what music is all about?" Nicely said, Furtwangler breathes life into Wagner's masterpiece. If you've heard Rings that caused you to lose interest in the "dull parts", not here, Furtwangler makes the Ring come alive throughout.
I guess you would wish I go into more details in comparison between the Keilberth July/1953/ANdromeda and this Furtwangler/EMI/Oct-Nov/1953...how about that, both from the very same year, the Keilberth live and Furtwangler's studio.
That is quite a surprise, as I always prefer live vs studio, if given the choice...
I will not go further in details between the 2, thus bringing my comments to a place that I would seem to prefer one over the other.
All I will say is that the Furtwangler/1953/EMI and Keilberth/1953/Andromeda are in my opinion, the 2 finest Rings on record.
Now I am aware that statement does not go over very well with the devoted fans of other Ring recordings, so you will have to make your own research and thus search and discovery for a superior Der Ring Des Nibelungen.
feel free to contact me for questions, if I can be of help.
EDIT:
I see in the notes the mention that this was a "Live" recording, IOW it was live as far as a audience was there at the recording, but not in the sense as a full stage production.
So it would seem my belief that live is prefered over studio.
In this case the casting was allowed to have movement on stage, and not as are PURE studio recordings where the cast just stands in front of a mic, here we have real action, which brings in that live feel. w/o all the coughing and audience noise.
Also would like to add, tgough I'm sure every other Ring besides the 2 I mention, all have their merits, some stronger than others.
However in these 2 recordings we witness the "most consistent" in craftmanship. "most consistent" is not an appropriate qualitative term for these 2 productions.
If I may be allowed to use a word that fans of other recordings may gasp in horror, definitive(I did not say perfect) would be my final word on these 2 1953 recordings.
You ask: How can everyone be right at the same time/as the fans of Bohm, Solti,Krauss,Knappertsbusch, EVEN! Levine all claim "this is one of the best/absolute" etc with high praises.
Well if you can afford it then try their suggestions. But like most of us, its not easy to budget in a set that runs anywhere from $100-$250(KNA's/Melodram)
It will not be an easy decision for you, as it was not for me.
But I feel my diligent and timely research has been very very rewarding.
Oh btw, go read the 30+ reviews on the Karajan set.
Notice something, not one of the 30 make mention of either Keilberth and maybe 1 or 2 make slight mention of Furtwangler.
Doesn't that raise a red flag?
Does for me, when folks go spouting off high praises w/o considering other sets.
Hype in ignore-ance.
Besides ck out any review, Solti, Bohm, Levine etc etc, especially the Krauss/53 and see if anyone mentions the Furtwangler and Keilberth's.
Doubtful. Which is always the case.
99% of my cd collection was built by my hard work in research, might take me 1 to 20 hours of work before i decide which recording i'll take a chance on...
btw you can read more comments on this finest of all Rings, on the Gramophone discussion forum, go to Recent Purchases topic, then look scroll down to the recent post of Furtwangler's 1953 Ring.
As we know Wagner was the first modern composer, with his sonorities so beautiffuly expressed in his 3 best operas, The Ring, Parsifal, Tristan. His other operas are stuck in a rigid classical period, so not to my taste.
Wagner's inspiration came first from the folklore of his land, next most importance was Mozart, third Beethoven.
The cast of this great recording is also fantastic. Martha Modl and Ferdinand Frantz lead the cast as Brunnhilde and Wotan respectivly. Modl is fantastic throughout. She has the nobility and passion needed to make this character work well. She can't match Nilsson's high notes but she has a much warmer voice than Birgit Nilsson. Frantz is totally great as the troubled Wotan. This very complex character is expertly sung by the great bass-baritone. There are very few who can match his commitment, characterization and nobility and he thoroughly convincing in the role of the chief of the gods.
Ludwig Suthaus is Siegfried. He too is totally great. He makes the opera Siegfried a joy to listen to in addition to the great conducting. This is almost an impossible role to do successfully with all the energy that is required at all times in addition to the extremely taxing duet at the end. Also in Gotterdammerung he is totally great.
Wolfgang Windgassen is Siegmund and Loge. He is often heard as Siegfried so it is a rarity to hear his Siegmund. From what I understand there are only two complete Walkure recordings with him as Siegmund, this one and the Knappertsbusch Ring from Bayreuth 1956. He is perhaps better as the young Siegfried but he does a great job with Siegmund, heroic and tender in his scenes with Sieglinde. His Loge too is excellent. Hilde Konetzni is Sieglinde and she too is great as the sweet character. She depicts the her passion and plight perfectly, much better than her work four years earlier on the Moralt Ring. Gottlob Frick is Hunding and Fafner in Rheingold, and Josef Greindl is Hagen, Fafner in Siegfried and Fasolt in Rheingold, and both are really exeptional. Julius Patzak is a really treasure as Mime. Gustav Neidlinger is at his best as Alberich in Rheingold. Alois Pernerstorfer is Alberich in Siegfried and Gotterdammerung, and he isn't as good as Neidlinger (who is?) but still quite excellent.
We also have a very strong cast in the minor roles, such as Margarete Klose as Waltraute in Gotterdammerung, Elisabeth Grummer as Freia, Ira Malaniuk as Fricka in Rheingold, Elsa Cavelti as Fricka in Walkure, Sena Jurinac as Gutrune and Rita Streich as the Woodbird.
So if this one would have a better documentation it would be a very clear first recommendation. The librettos of the operas are available to buy at quite a low cost. The only snag is that this performance is in mono and the sound is a little dry sometimes, but this is a minor problem. On the whole is the sound good and it represents a rare opportunity to hear perhaps the greatest master of this gigantic work in top form with some really exceptional artists. So to close I have to say that I highly recommend this recording as a first buy of this ever-facinating work.
But Solti would be on the bottom of my list, ranking only higher than Boulez and Levine. I appreciate the booklets and packaging in Solti's Ring and, surely, there are many fine moments, but not enough to sustain the level of excitement and attention all the way through.
So my recommendation to those who can only afford one Ring is: listen to them all before you make your choice! You may like one that no one else does. Don't get swayed by those "in the know" because they probably have several sets and can afford to keep their Solti on the shelf.
The casting is fabulous, the directing superb, the orchestra in great form.
I do not want to write a long dissertation for this great value box set.
The Testament set is coming out at a much much more expensive price.
Anyway, if the only 'flaw' (if you want to call it) you find in this set is Brunnhilde and Siegfried and Wotan, then you are not really a Ring fan.
Altmeyer and Kollo are more than adequate in the two lead roles. Adam's voice is a bit worn in this recording, granted that he has sung for such a long time as Wotan by the time this was recorded. But they do NOT detract from the overall high standard a single jot.
Salminen's Hagen was formidable, if not his Fafner. Norman and Jerusalem are simply an immaculate pair of Walsungs. The Rhinemaidens are SO lovely with a diamond cast including Lucia Popp. The Valkyries rival any Bayreuth line-up.
Siegfried's forging song was immaculately taken with Kollo and Schreier, the latter not being a Wagnerian heldentenor but adds so much colour and drama to the secondary Wagnerian tenor roles: the Young Steersman in Tristan und Isolde, Loge in Rheingold, Mime in Siegfried...
Of all the four parts, I would opt that Siegfried is the best recorded. A real standout, with the rest consistently high in standard.
First of all the nice recording quality: clear but spacious, rounded but 'direct' enough so that one is able to revel in the velvety, disciplined playing of the Staatskapelle Dresden. The playing in general is not overstated, rather measured, often intimate, I would say, but luckily compensated with 'crispness' and 'attack' and with enough drive to urge on the drama and to completely hold one's attention.
Anyway, the playing wonderfully complements the singers, who IMHO are the best for their roles. Except maybe Theo Adam's Wotan, who I believe doesn't sound 'weighty' enough for what I would expect of the role, and whose singing I find strained and wobbly at times. (But then again, I am rather biased towards the more 'chesty', booming voice of John Tomlinson in this role - quite a commanding presence, his Wotan.) The singing ranges from good to marvelous throughout, whatever one's personal tastes, with the towering talents of characterization by the sweetvoiced Siegfried Jerusalem (Siegmund) and Rene Kollo (Siegfried). And although her Brunnhilde may not be as matronly a lady as others, I am especially endeared to the soft, velvety timbre (very appropriate for this recording) of American soprano Jeannine Altmeyer, sounding youthful and sweet but with enough ardour and with a touch of necessary vulnarability; a very sympathetic and intelligent lady, this Brunnhilde. And then there are the dark and commanding Fafner and Hagen of Matti Salminen. The Rhinemaidens' voices are fresh and pure-sounding and blend wonderfully. Ortrun Wenkel creates a deeply resounding, world-weary Erda. Of Yvonne Minton's Fricka one could say that she may not be as fierce or commanding as others (take Linda Finnie for Barenboim), but she is certainly beautifully nuanced in her emotional engagement.
All in all, a Ring des Nibelungen with many strengths I believe, and no real weak points, but somewhat more 'lyrical' and without much of the 'weightiness', gravitas and power of some. But I think this somewhat more 'lightweighted', more lyrical approach is just fine, truly giving the singers ample possibility to really, well, sing out their lines.
For anyone who loves Wagner's Ring des Nibelungen, or who would like to get acquainted with Wagner's great masterwork this is a very consistent and finely nuanced modern Ring Cycle (probably enough money to secure all the necessary talents for the whole time needed to record it), a safe buy and a rewarding listen. Highly recommended. (But 'only' four *stars*, because a fifth *star* I must reserve for the Barenboim Ring, to be completely honest ...)
The cycle starts with the best Rheingold I have ever heard: the prelude emerges with a quantity of instrumental detail that's simply astonishing (while one usually tends to get just the strings submerging all the rest) and at a pace that's simply the most "exact" for this piece. The transition between the prelude and scene one has a lightness of touch, a swiftness, a mobility that for the first time render with appropriateness the playful teasing and swimming of the Rhine Daughters. Beautiful moments like this abound in this Tetralogy.
The first act of Walküre manages to combine Karajan's intelligent reading with a Solti-like drive. The musical and leitmotivic extreme complexity of the scores of Siegfried's Act III and of Götterdämmerung (i.e. those parts of the Ring that Wagner composed after Tristan and Meistersinger) are rendered with supreme clarity. Nowhere have I heard in the closing seconds of the Tetralogy the Twilight-of-the-Gods motif--just before the final lone expansion of the Redemption theme--with such evidence and clarity. In Karajan you barely hear it, submerged as it is by the brass parts.
The cast, despite some few minor weaknesses, stands proudly on its own. First you don't get two Wotans, two Brünnhildes, two Siegfrieds in the course of the work as it happens in some other recordings and this has its importance. A great feature of this Ring is also the possibility of hearing excellent singers at the very beginning of their careers together with other, more experienced, singers. Thus you get Jessye Norman's radiant Sieglinde, Siegfried Jerusalem's vocally firm Siegmund, René Kollo's excellent (and I repeat excellent) Siegfried. One would expect his voice to be a little too thin for the part, but while it shows some fatigue in the most difficult moments (the forging scene, and the swearing of the oath) it creates probably the most youthful, poetic and lyrical Siegfried on CD in the Neidhöhle forest and in the whole Götterdämmerung. Theo Adam's vocal longevity is astonishing when you think that he sang Wotan in 1967 for Böhm, but his vocal line is still firm and imperious, and the personality unequaled. And he possesses the text like no other ever has after Hotter.
Yvonne Minton is an excellent Fricka in both Rheingold and Walküre. Peter Schreier is probably the best Loge on CD, in a supreme rendering of this ambiguous character, and also one of the best Mime in Siegfried, while Mime in Rheingold is sung by a not overtly gifted Christian Vogel. Kurt Moll is a strong Hunding. Siegmund Nimsgern is a good Alberich (even though one still misses Neidlinger's outstanding performance with Solti) and Matti Salminen is a robust Hagen. And, finally, Jeannine Altmeyer's Brünnhilde: while not possessing the vocal line of a Flagstad or of a Nilsson, in this early part of her career she was still endowed with a freshness of voice, a youthfulness of expression that certainly leaves aside the godly part of this character but renders nonetheless very well the human part, that of the woman Brünnhilde.
Finally, the quality of the recording makes it an even better buy. The beauty of the Wagner sound emerges triumphantly from these 14 CD's. It is a DDD recording with a spatial definition, a balance between voices and orchestra, a balance between different sections of the orchestra that's never been matched afterwards.
This is a Ring that's particularly recommended to experienced listeners. In it they will find an incredible balance between modernity and tradition and endless pleasure and fascination for the innumerable treasures Janowski, together with his sublime orchestra, unveils.
Happy listening!
Of course, I must speak of the two main characters--Brunnhilde and Siegfried, who are so essential to making any Ring work. The Siegfried in this recording is Rene Kollo. He is the first jugendlich dramatische heldentenor ever to be cast in the role at his prime in such a recording, and while several Bayreuth and pirate Rings showcase great tenor voices such as Hans Hopf, Melchior, Windgassen, and Treptow as Siegfried, no one had the kind of voice Wagner had in mind for the role. Rene Kollo has it all--sensitive phrasing, great acting, and a voice that spans Siegfried's vocal requirements. I think he is one of the best Siegfrieds since Jess Thomas.
Brunnhilde is taken by Jeannine Altmeyer, who was Sieglinde in Boulez's ring in the 1976 Patrice Chereau production in Bayreuth. Hers is a light voice, a bit lighter than Crespin's, but unfortunately she doesn't do as much wonders with the role the way Crespin does. It is a very young, girlish Brunnhilde that makes us believe that she is a willowy, gorgeous figure that Wagner had in mind when writing the Ring libretto. She isn't the most involved of singers though. It is very well vocalized, but lacks the beauty of expression given by singers such as Helga Dernesch, Gwyneth Jones, Regine Crespin, and Astrid Varnay. Still, her Brunnhilde is a wonderful addition to the discography (one could wish that she would work on her German a bit), and her interpretation gives us an image of a young, svelte woman.
The sound in this recording is excellent, and I'd recommend it to anyone who would want to understand the polyphonic scores of Wagner's ring.
Janowski's conducting is ideal for living with - he keeps things moving along nicely, sets up climaxes perfectly and never loses sight of the overall structure of the operas. This thoroughly musical performance would be an ideal introduction for anyone coming fresh to the ring, as it lacks the eccentricities of other cycles that can overtake your expectations of what 'should be'. More experienced ring collectors, too, will find themselves enthralled by much in this set.
More than any of the recent recordings Janowski's casting quality runs deep into all the minor roles, and has the advantage of having the same casts for the same roles throughout the four operas. Since Amazon does not clearly list the singers with the roles I will do so at the end of the review.
Highlights are many, and there are even some highlights in the context of the whole recorded history of the Ring (especially considering this is the first in digital sound and still the most natural and clear recording available, with voices and orchestra in perfect balance).
Worthy of special mention are the young Jerusalem & Norman as Siegmund & Sieglinde (Act 1 of Die Walkure must be among the best ever); Nimsgern's articulate Alberich; the Rhinemaidens (have they ever sounded so beautiful?); Peter Schreier's ideally characterised Loge & Mime; and Kurt Moll's cavernous Hunding. Theo Adam's years of experience shine through a wonderfully lived-in if occasionally unsteady Wotan. The Valkyries, boasting several rising stars, are among the very best groups ever assembled.
Kollo's Siegfried is wonderful in the opera that bears his name, a little forced sometimes in Gotterdammerung but still musical. Altmeyer's Brunnhilde isn't particularly attention grabbing - very pleasant in tone but a bit penny-plain in interpretation. She is always adequate but something more insightful (a la Varnay or Behrens) would have been nice. Having said that, I think criticism of her has been too harsh - she has a lovely voice and can hardly be said to spoil this recording. Perhaps it's that, with everything else so fine, one wishes for an all-conquering Brunnhilde to crown the set.
But I come back to the orchestral contribution, which is captured in the finest detail and most beautiful sound on disc. An unregrettable purchase.
Das Rheingold:
Wotan: Theo Adam
Donner: Karl-Heinz Stryczek
Froh: Eberhard Buchner
Loge: Peter Schreier
Alberich: Siegumnd Nimsgern
Mime: Christian Vogel
Fasolt: Roland Bracht
Fafner: Matti Salminen
Fricka: Yvonne Minton
Freia: Marita Napier
Erda: Ortrun Wenkel
Woglinde: Lucia Popp
Wellgunde: Uta Priew
Flosshilde: Hanna Schwarz
Die Walkure:
Siegmund: Siegfried Jerusalem
Hunding: Kurt Moll
Wotan: Theo Adam
Sieglinde: Jessye Norman
Brunnhilde: Jeannine Altmeyer
Fricka: Yvonne Minton
(Valkyries:)
Gerhilde: Eva-Maria Bundschuh
Ortlinde: Cheryl Studer
Waltraute: Ortrun Wenkel
Schwertleite: Anne Gjevang
Helmwiege: Ruth Falcon
Siegrune: Christel Borchers
Grimgarde: Kathleen Kuhlmann
Rossweisse: Uta Priew
Siegfried:
Siegfried: Rene Kollo
Mime: Peter Schreier
Der Wanderer: Theo Adam
Alberich: Siegmund Nimsgern
Fafner: Matti Salminen
Erda: Ortrun Wenkel
Brunnhilde: Jeannine Altmeyer
Voice of a Forest Bird: Norma Sharp
Gotterdammerung:
Siegfried: Rene Kollo
Gunther: Hans Gunter Nocker
Alberich: Siegmund Nimsgern
Hagen: Matti Salminen
Brunnhilde: Jeannine Altmeyer
Gutrune: Norma Sharp
Waltraute: Ortrun Wenkel
First Norn: Anne Gjevang
Second Norn: Daphne Evangelatos
Third Norn: Ruth Falcon
Woglinde: Lucia Popp
Wellgunde: Uta Priew
Flosshilde: Hanna Schwarz
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Boulez DVD set: Wagner - Der Ring des Nibelungen / Pierre Boulez, Bayreuth Opera (Complete Ring Cycle, Parts 1-4)
Given its somewhat dicey reputation, I think many listeners will be astonished at how good this famous Seventies Ring from Boulez sounds when stripped of its visuals. Long available on tape and DVD, it has now been fantasically well remastered for CD. Here is a comprehensive review of each installment.
'Das Rheingold.'
Donald McIntyre Wotan ; Hermann Becht Alberich ; Martin Egel Donner ; Matti Salminen Fasolt ; Carmen Reppel sop Freia ; Norma Sharp sop Woglinde ; Ilse Gramatzki sop Wellgunde ; Hanna Schwarz mez Fricka ; Marga Schiml mez Flosshilde ; Ortrun Wenkel cont Erda ; Heinz Zednik ten Loge ; Helmut Pampuch ten Mime ; Siegfried Jerusalem ten Froh ; Fritz Hübner bass Fafner
As expected, Boulez takes a swift view of Rheingold, which helps immensely to bring the drama to the fore. In this instance the absence of visuals isn't harmful. The mostly non-stellar singers are exemplary, starting with a trio of Rheinmaidens who sing absoutely beautifully and an Alberich who malevolence is totally convincing. The Bayretuh acoustic is almost as good as a studio recording, albeit some details (such as the trumpetfanfaress in Scene 1 that celebrate the gold when the sunlight hits it) can feel a bit underplayed. With the microphones in the pit, the orchestral part is neither muffled nor distant. The voices are crystal clear, and Philips has done well in softening the sharp treble that listeners complained about on the LPs. Stage noises are considerable; the audience is silent.
For once the legendary Bayreuth orchestra actually plays like a world-class ensemble, kept together meticulously by Boulez. At the time his avoidance of Wangerian convention (i.e., ponderousness and weighty 'importance') was controversial. Now it feels both natural and refreshing. Some of the major roles aren't completely satisfying on CD, starting with Donald McIntyre's Wotan. He has a strong voice and stage presence, but the pscyhological depth of a Hans Hotter is missing; fortunately, McIntyre does his best to dramatize his lines. Happily, the Loge, aided by the fast pace, sounds like a real fire spirit and ot just a retired German tenor--this one is a bit srill and sharp-voiced, which suits the role. The Mime is even stronger (to tell the truth, he should have been the Loge since he has a mellower voice).
The scene changes and prelude are excitingly played--the entrance into the Niebelugen world after Scene 1 is quqite thrilling, and the anvils come through with force, if not exactly the ring of terror the have in Karajan's recording for DG. Donner's clanging hammer in Scene 4 is feelbe, but the resulting thunder is admirably loud. As for the climax, I've heard grander and more exalted entires of the gods into Valhalla--Boulez prefers a light, lyrical rainbow bridge.
In sum, a great Rheingold that bows to none, especially in its conducting and dramatic impact.
'Die Walkür.
Donald McIntyre Wotan ; Jeannine Altmeyer sop Sieglinde ; Gwyneth Jones sop Brünnhilde ; Carmen Reppel sop Gerhilde ; Katie Clarke sop Helmwige ; Karen Middleton sop Ortlinde ; Hanna Schwarz mez Fricka ; Gabriele Schnaut mez Waltraute ; Elisabeth Glauser mez Rossweisse ; Marga Schiml mez Siegrune ; Ilse Gramatzki mez Grimgerde ; Gwendoline Killebrew cont Schwertleite ; Peter Hofmann ten Siegmund ; Matti Salminen bass Hunding
The PBS audience thirty yeaars ago was captivated by this Walkure, especially the handsome, touching Siegmund of Peter Hoffmann, then an unknown in the U.S. However, on CD there have always been complaints about the leads. Without Nilsson as Brunnhilde, we begin to run into vocal limitations in the second installment of the "Ring," a fact as true today as in 1976. So how does the Boulez version hold up without the charismatic visuals?
As with Rheingold, I have no reservations about the reecorded sound, the orchestra, or Boulez'a conducting. Everything is first-rate, despite numberous stage noises, and there is not the slightest muffle due to the covered orchestra pit--the engineers have taken care of that. Boulez's swift modernist approach sounds as gripping as ever, totally convincing except to die-hard traditionalists who might go into shock when these tempos are set against Knappertsbusch's.
These positives set the stage for the singers, and even moderately good ones will do (by no means are any as bad as the worst in Furtwangler's two Ring cycles from Italy). Happily, the young-sounding Siegmund and Sieglinde, while hardly the equal of Melcoir and Lehmann (or anywhere close) remain dramatically convincing without the aid of visuals. Altmeyer and Hoffmann really make you believe in their characters, conveying a touching vulnerability. We get really first-rate singing form Salminen's black-voiced Hunding, Schwarz's Fricka (she also stood out in Rheingold), and, with reservations, McIntyre's Wotan. He is more than respectable, but the character fails to reach the musical heights of Hotter and the superb Thomas Stewart for Karajan. His weakest moment, unfortunately, is at the end, where his farewell to Brunnhilde encoutners vocal fatigue and fails to be emotionally moving, despite Boulez's lovely underpinnings.
This Walkure has to be appreciated as a conductor-and-stage-director's performance. If you wait for a stunning Der Maner Sippe or Wintersturme, you will be disappointed. I have saved Gwyneth Jones's Brunnhilde for last, given her controversial status. First of all, she made a stunning impact on film, equalled only by Hildegarde Behrens in her generation. The good news is that this early in her career, Jones is in best voice; the bad is that she wobbles and can't be trusted to be on pitch. I would rank her far below Nilsson and well below Crepin (Karajan's compelling Brunnhilde) in the modern era, but in no way i Jones embarrassing. Her Ho-jo-to-ho's, in fact, are believable and thrilling. Where it counts most dramatically--in the confrontation with Siegmund in Act 2 and the finale scenes with Wotan--Jones comes through.
In sum, this is a completely satisfying 'Walkure' on all counts but the singing, which is never less than veyr good but doesn't reach the heights. Since I love music drama more than opera per se, I would rank Boulez's recording above Solti on DEcca or the live Bohm account, also form Bayreuth, on Philips.
'Siegfried'.
Donald McIntyre Wanderer ; Hermann Becht Alberich ; Gwyneth Jones sop Brünnhilde ; Norma Sharp sop Woodbird ; Ortrun Wenkel cont Erda ; Manfred Jung ten Siegfried ; Heinz Zednik ten Mime ; Fritz Hübner bass Fafner
With two totally convincing installments uner his belt, Boulez raised my hopes for Siegfried. As in those performances, the Bayreuth orchestra sounds first-rate and is vividly cuahgt by the Philips engineers without the usual muffled sonics on other Wanger recordings from this site. The pacing is swift and draatically pointed--in that regard boulez surpasses the overly driven Solti and the too laid back Karajan. The recent appearnace of Keilberth's 1955 live siegfried gave us one of the best sung on records, but Boulez is far ahead of Keilberth dramatically and musically.
It's a given that 'Siegfried' brings compromises, then as now. Without singers of almost superhuman ability, every prduction must settle. Fortunately, this cast has the huge benefit of sounding dramatically committed. The Mime of a young Heinz Zednik is as good as one could hope for. Manfred Jung has a light, rather shrill voice for Siegfried, but he's youthful and totally committed to the role, which counts for a lot. The forging Scene requires deft tricks for him to get through it, but that's true for every Siegfried since Melchior. In any event, nobody since 1974 has surpassed Jung, which is something. My only reget is that he runs out of steam by the last act.
Gwyneth Jones made for a thrilling Brunnhilde in all respects--she was young strikingly good-looking, and dramatically convincing. But the Waking Scene is cruelly difficult; it requires a lustrous dramatic soprano to plant her feet and let fly. Like everyone else, I wish Jones's voice didnd't wobble and that she was on pitch more often, but there's no doubt that she lets fly. She is caught at her youthful best, and in the absence of Nilsson or Jane Eaglen, I can't think of a better Brunnhilde in the modern era.
This leaves the excellent but not great Wotan of Donald McIntyre, who tends to roar and bluster--he lacks real stature aas a character. Still, there's no doubt that he has a powerful, commanding voice. The minor roles are all well taken.
In sum, what makes this Siegfried a notable success is Boulez, who dominates every aspect of this Ring cycle. We get a good cast as far as drama goes, somewhat less appealing vocally. and the finale scene between Brunnhilde and Siegfried, which needs to be the opera's crowning glory, is a major letdown. For that reason, I think three and a half stars is about right.
'Götterdämmerung.
Hermann Becht Alberich ; Franz Mazura Gunther ; Gwyneth Jones sop Brünnhilde ; Jeannine Altmeyer sop Gutrune ; Norma Sharp sop Woglinde ; Ilse Gramatzki sop Wellgunde ; Katie Clarke sop Third Norn ; Gwendoline Killebrew mez Waltraute ; Marga Schiml mez Flosshilde ; Gabriele Schnaut mez Second Norn ; Ortrun Wenkel cont First Norn ; Manfred Jung ten Siegfried ; Fritz Hübner bass Hagen
I'm going to offer the same rationale for this 'Gotterdammerung' that is regularly offered for Furtwangler's Ring cycles from Italy. Ignore the erratic singers and concentrate on the orchestral part. This is the opera to do that in, because Wagner was at the height of his mastery in every bar of 'Gotterdamemrung.' Boulez rises to such a high level of inspiration that I think only Furtwangler--his exact opposite aesthetically--offers a comparison.
After thirty years, the cotnroversy surrounding Boulez's approach (too fast, not traditional enough, spirituality shallow) is moot. What we hear now is a great musician at work. The orchestral execution is stunning and caught all but perfectly by Philips' engineers, who put their microphones directly in the covered pit at Bayreuth. If there's a modern performance that can get by entirely on the orchestral part, it's this one--for pure virtuosity the Vienna Phil. under Solti and the Berlin Phil. under Karajan are finer, but neither conductor, I feel, can match Boulez's thrilling drama.
All of which sounds like a prelude to damning the singers with faint praise. Sadly, I have to. The roles of Brunnhilde an Siegfried are too taxing for Gwyneth Jones and (especially) Manfred Jung. Her birght, youthful dramatic soprano is closer to right, even with its pronounced wobble, than his light, rather shrill tenor, but vocal glory escapes both. I must say, however, that Jones has rarely been surpassed for emotional flexibility, and her vocally flawed Immolation Scene is totally convincing at the dramatic level.
Happily, everyone else sounds very good, but it's hard to overlook the sometimes gaping hole in the middle of this reading. This may sound like half a loaf, but in its totality this recording has more going for it vocally than either Furtwangler cycle, even given Flagstad's unique contribution. It also surpasses the cycles from Haitink on EMI and Levine on DG.
In sum, this is a conductor's 'Gotterdammerung,' and by that standard it deserves five stars. It's shocking that British critics have dissed Boulez so consistently over the years as they overpraised Bohm and Solti. The singers reach a level that would be hard to equal today, much less surpass. Even so, one can't pretend that they rise to the excellence of Solti's famed cast for Decca.
Boulez sans Chereau Pt II
A brief second review is in order, since my first was based on the DVD and my old LP's -- I have since acquired and listened to the CD edition of the Boulez 1980 Bayreuth Ring, and I just want to add that the remastered sound is SPECTACULAR; the Bayreuth acoustic, Boulez's extraordinary attention to color and detail, the orchestra's virtuosity (no fluffed notes, weird entrances, etc)all make for one of the most formidable displays of RING conducting ever. All the fleetness and drama of Bohm, without the crass lack of nuance, all the attention to detail of Karajan without the somnolent stasis...if only Boulez had tackled this in the late '60's, back when he was conducting Parsifal at the festival, and would have had the benefit of a better cast...sigh. Anyway, this may not be a first choice Ring, but for addicts, I think this beats the way-over-rated, over-priced and under-conducted Keilberth stereo edition on Testament...
One now comes to Richard Wagner, often considered the master of Romantic music and one of the definitive composers to ever set foot on the soil of this planet. If one were to painstakingly evaluate the two conductors' collective Wagnerian works, one would most likely come to the conclusion that Hungarian-born Sir Georg Solti was a "more perfect" Wagnerian conductor than the Austrian musical megalomaniac Herbert von Karajan. Solti's style of conducting, which lent itself to the works of Ludwig van Beethoven, Mahler, and Richard Strauss, was obviously within the atmosphere of Wagner, and his John Culshaw-produced rendering of Der Ring des Nibelungen can easily be considered one of the greatest achievements in modern recorded sound. Nonetheless, Karajan's brilliance came not from his ability to conduct Wagner perfectly, as one might arguably suggest for Solti, but rather from his ability to approach every composer with a certain level of comfort and singularity while simultaneously retaining his format of interpretation. Karajan was just as comfortable with the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart as he was with Jean Sibelius and Arnold Schoenberg, and his expertise transcended every medium, from choral works and masses to symphonies to operas to concerti. It was also his singular smoothness, his uncanny ability to gloss and refine the roughest and most vulgar of music (which, occasionally, in a work such as Carmen, had a derogatory effect) which made his Wagnerian music so spectacular a beacon and link within the chain mail of the musical world.
This is the reason why this recording of Der Ring des Nibelungen features what critics have called a "chamber music approach" to the Wagner score; Karajan dissected the music (as he did with everything he conducted) and took every measure to present, at all times, the beauty inherent in the music, even at the most violent and explosive instances. No fault is obvious in this, and with the operas of Rossini or Donizetti, no problem would have occurred; however, with Wagner, placing too burdensome an emphasis on beauty could, possibly, have an acidic effect on the overall drama of the work. This became an almost debilitating fault near the end of his illustrious career, but here the results are stunning. Karajan's interpretation is not sluggish (by the standards set by Solti, it is actually fairly brisk) and the orchestral performance from the imperial Berliner Philharmoniker is beyond betterment.
Thus, one must wonder why this recording of the Ring Cycle, with arguably the best conductor in the world leading one of the finest groups of musicians ever assembled, is frequently dogged by critics as weak and woefully idealistic. The answer lies in Karajan's casting which is, overall, inferior to Solti's. However, jewel-bedecked performances can be found in Karajan's cast with which Solti's cannot compete. Jon Vickers and Gundula Janowitz bring new definition to the twins Siegmund and Sieglinde. Operatic roles may have existed which Vickers did not perfect, but those which he performed (Peter Grimes, Samson, Tristan, Aeneas, Otello, Don José) were forever standardized by his interpretation. Siegmund is no exception, and though James King was a golden-toned, amorous youth on the Solti Die Walküre, Vickers is mightily Zarathustran and gloriously introspective during "Winterstürme wichen dem Wonnemond." Janowitz, who could make the harshest, most brutal German phrases drip with the smoothness and creamy elegance of French, brings radiance and gleaming simplicity to her Sieglinde which no other soprano could dare attempt. Their ecstatic, and eventually orgasmic, love duet ("Du bist der Lenz" ... "O süsseste Wonne! Seligstes Weib!" ... "Siegmund, den Wälsung, siehst du, Weib!") may be the greatest moment of Karajan's entire Ring Cycle.
The character of Wotan, the ruler of the gods, should, theoretically, be performed by a commanding, sonorous bass-baritone such as George London, Hans Hotter, Theo Adam, or James Morris, the most superb modern Wagnerian baritone. However, Dietrich Fischer-Dieskau, who was so praised for his vocal delicacy and aristocratic gentility, is surprisingly successful as the ambitious god whose ageless wisdom was blinded by his opulent rapaciousness in Das Rheingold. Fischer-Dieskau was often fussy and blusterous on the operatic stage, but brief instances of vocal waywardness are often excusable through Wagner, and he will have no difficulty pleasing the most caustic critic during his wondrous musing as the gods enter the celestial fortress of Valhalla ("Abendlich strahlt der Sonne Auge...So grüss ich die Burg"). Thomas Stewart, a severely under-recorded American baritone, excels as Wotan in Die Walküre and Siegfried. Wotan's eminent farewell to Brünnhilde in Die Walküre ("Leb wohl, du kühnes, herrliches Kind!...Der Augen leuchtendes Paar") could easily buckle many baritones; Stewart, however, sings with unfettered passion and mournful abandonment as the pained father. He is less thrilling (due to the context of the music, not his voice) in his conjuring of Erda in Siegfried ("Wache, Wala! Wala! Erwach!").
Gerhard Stolze, the consummate character singer, is not featured on this set of highlights as Mime, Alberich's toiling, gnomish brother, in Siegfried; his unique caricature of Loge in Das Rheingold is inserted instead. Loge, the mischievous demigod of fire, is a part usually performed by a heldentenor, such as Wolfgang Windgassen, Set Svanholm, or Siegfried Jerusalem, and for those strictly concerned with vocal beauty, these singers would be highly appropriate. However, for those seeking a more burlesque, stupendously acted performance (merely listen as he warns the gods not to enter Valhalla ["Ihrem Ende eilen sie zu"]), Stolze is perfectly idiomatic and certainly does not "bark" his lines, though he is occasionally criticized for doing so. Hungarian bass-baritone Zoltan Kélémén's career began, for the most part, with Karajan casting him as Alberich. The most inimitable interpreter of the dwarf fiend was Gustav Neidlinger; his Alberich was explosively, thunderously vindictive, a Caligulan nemesis. Kélémén's Alberich was a twisted, grisly deuce, and though he may have lacked the vocal robustness of Neidlinger (and the malignant guffaw), his retort against the mocking of the Rheintöchter ("Der Welt Erbe gewänn ich zu eigen duch dich") is a petrifying outburst. Helen Donath, Edda Moser, and Anna Reynolds are the most perfectly tuned Rheintöchter available on disc. No other trio can compare with their beguiling chatter in the first scene ("Lugt, Schwestern! Die Weckerin lacht in den Grund") nor with their wrathful longing in the finale ("Rheingold! Rheingold! Reines Gold!"). Liselotte Rebmann, Daniza Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, and Helja Jenckel are similarly victorious during the Walkürnritt ("Hojotoho!"), which is sure to conjure an image of helicopters napalming seaside Vietnamese villages vis-à-vis Francis Ford Coppola or hellish, armed and armor-bedecked maidens soaring about on flying horses.
Josephine Veasey possessed an elegant, matronly tone which was perfectly suited for Fricka, Wotan's bickering wife, the goddess of marriage. Donald Grobe, a Karajan regular, is insipid but secure as Froh in his brief monologue ("Zur Burg führt die Brücke"). Martti Talvela and Karl Ridderbusch (another Karajan regular) shared the four main bass roles in the saga: Fasolt, Fafner, Hunding, and Hagen. Talvela is noted as one of the most sympathetic Fasolts on record; one must wonder how Talvela, the gargantuan Finnish bass, could not be suitable as a giant in any opera. His performance is woefully truncated here, alas. His Hunding, which was surely brutish and bovine, is not heard at all. The iniquitous villain Fafner's greatest moment comes not in Das Rheingold as the bellowing lummox but in Siegfried as the leering, yawning dragon; this is also left out of the collection. Ridderbusch's performance as Hagen, often heralded as one of his finest, is represented here by little more than his final outburst of "Zurück vom Ring!" After Dame Joan Sutherland's "cameo" appearance as the Waldwogel in Sir Georg Solti's Siegfried, all other performances are bound to fall short. Nonetheless, Catherine Gayer is notably lovely and chirpy.
Most criticism concerning the soloists is invested in insulting Jess Thomas, Helga Dernesch, and Helge Brilioth. Thomas, a regal Lohengrin and Tannhäuser in his youth, has forever been the recipient of spiteful banter reviling his performance as Siegfried in the third opera of the cycle. It is true that Windgassen owned the role in much the same way that Birgit Nilsson was the executor of Brünnhilde (after Flagstad and Varnay); however, their performances were sublime in the locality of their vocal precision and dramatic prowess, which were sublime. In the sector of vocal attractiveness (which is, one must concede, Karajan's principal area of focus), Windgassen fell short of the golden-throated Thomas, and Nilsson's steely voice, though it possessed its own rampageous eroticism, was also inferior to Helga Dernesch's richer and milder tone. As examples, Thomas is marvelous during the darkly impressionistic, meandering Waldweben ("Dass der mein Vater nicht ist"); Dernesch is ravishing in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht! ... Siegfried! Siegfried! Seliger Held!") and in the apocalyptic finale of Götterdämmerung ("Starke Scheite schichtet mir dort...Fliegt heim, ihr Raben!"). Poor Brilioth is often criticized for simply sounding dull and inadequate as Siegfried in Götterdämmerung, and one must concede that it would have been more prudent for Karajan to cast Windgassen. [Régine Crespin, who is not featured on this collection, performed Brünnhilde in Die Walkure. This had mixed results, for most held her performance as the Valkyrie in juxtaposition to her gorgeous interpretation of Sieglinde on the Solti recording. I, personally, found her Brunnhilde delightfully witty and humane.]
Perhaps the greatest fault of this collection of highlights is that it is what it is: a collection of excerpts. Der Ring des Nibelungen is an expansive masterpiece which is not suitable for a two-disc collection of noteworthy tracks. This compilation, nevertheless, is indeed superb (as are most Deutsche Grammophon/Panorama releases), as is the set of highpoints from Karl Böhm's Ring Cycle, released through Philips. One should, by all means, disregard the hateful criticism placed upon Karajan's work here. It is not his finest, but it is Karajan, and his worst level is a pinnacle of excellence which most conductors can only hope to achieve, particularly in a Wagnerian sphere.
These 1966/7 Bayreuth performances showcase veteran Bayreuth stalwarts giving their all in face of dwindling vocal resources (Greindl, Neidlinger, Mödl & Windgassen) alongside Birgit Nilsson and James King in more vibrant, communicative fettle than in the studio under Solti. Karl Böhm's pacing may seem unduly hectic at times, yet he is a stickler for Wagner's directives for relationships between tempos. The orchestral execution is a tad rough around the edges, but Philips's miking captures a more ideal pit/stage balance than in the contemporaneous Solti and Karajan studio Rings. Note that a cheaper edition of this set is available on import, but minus the texts included here. --Jed Distler
Richard Wagner: Der Ring des Nibelungen,Gerd Nienstedt,Josef Greindl,Kurt Böhme,Richard Wagner,Karl Böhm,Bayreuther Festspiele Orchester,Helga Dernesch,Anja Silja,Annelies Burmeister,Birgit Nilsson,Danica Mastilovic,Dorothea Siebert,Elisabeth Schartel,Erika Koth,Erwin Wohlfahrt,Gertraud Hopf,Gustav Neidlinger,Hermin Esser,James King,Leonie Rysanek,Liane Synek,Ludmila Dvoráková,Marga Höffgen,Martha Mödl,Martti Talvela,Ruth Hesse,Sieglinde Wagner,Sona Cervena,Theo Adam,Thomas Stewart,Vera Soukupova,Wolfgang Windgassen,Polygram Records,Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio,Opera/Operetta
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ASIN: B000025ESY Release Date: 2006-09-12 |
Tracks:
- Prelude
- Scene One: 'Weia! Waga! Woge, Du Welle!'
- Scene One: 'Garstig Glatter Glitschriger Glimmer!'
- Scene One: 'Wallala! Lalaleia! Leialalei!'
- Scene One: 'Lugt, Schwestern! Die Weckerin Lacht In Den Grund'
- Scene One: 'Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich'
- Scene One: Orchestral Interlude
- Scene Two: 'Wotan! Gemahl! Erwache!'
- Scene Two: 'Nur Wonne Schafft Dir, Was Mich Erschreckt'
- Scene Two: 'Sanft Schloss Schlaf Dein Aug'
- Scene Two: 'Zu Mir, Freia!'
- Scene Two: 'Endlich Loge!'
- Scene Two: 'Immer Ist Undank Loges Lohn'
- Scene Two: 'Taugte Wohl Des Goldnen Tandes'
- Scene Two: 'Hor', Wotan, Der Harrenden Wort!'
- Scene Two: 'Jetzt Fand Ich's: Hort, Was Euch Fehlt'
- Scene Two: Orchestral Interlude: Descent Into Nibelheim
- Scene Three: 'Hehe! Hehe! Hieher! Hieher!'
Tracks:
- Scene Three: 'Wer Halfe Mir?'
- Scene Three: 'Mit Eurem Gefrage'
- Scene Three: 'Was Wollt Ihr Hier?'
- Scene Three: 'Habt Acht'
- Scene Three: 'Riesen-Wurm Winde Sich Ringelnd'
- Scene Three: Orchestral Interlude: Return From Nibelheim
- Scene Four: 'Da, Vetter, Sitze Du Fest!'
- Scene Four: 'Wohlan, Die Nibelungen Rief Ich Mir Nah'
- Scene Four: 'Zu Deiner Losung Musst Du Ihn Lassen'
- Scene Four: 'Bin Ich Nun Frei?' - Alberich's Curse
- Scene Four: 'Lauschtest Du Seinem Liebesgruss?'
- Scene Four: 'Halt! Nicht Sie Beruhrt!'
- Scene Four: 'Nicht So Leicht Und Locker Gefugt'
- Scene Four: 'Freia, Die Schone, Schau' Ich Nicht Mehr'
- Scene Four: 'Weiche, Wotan, Weiche!'
- Scene Four: 'Hort, Ihr Riesen! Zuruck Und Harret'
- Scene Four: 'Furchtbar Nun Erfind' Ich Des Fluches Kraft'
- Scene Four: 'Schwules Gedunst Schwebt In Der Luft'
- Scene Four: 'Zur Burg Fuhrt Die Brucke'
- Scene Four: 'Rheingold! Rheingold!'
Tracks:
- Act One: Prelude
- Act One: Scene One - 'Wes Herd Dies Auch Sei, Hier Muss Ich Rasten'
- Act One: Scene One - 'Kuhlende Labung Gab Mir Der Quell'
- Act One: Scene Two - 'Mud Am Herd Fand Ich Den Mann'
- Act One: Scene Two - 'Friedmund Darf Ich Nicht Heissen'
- Act One: Scene Two - 'Aus Dem Wald Trieb Es Mich Fort'
- Act One: Scene Two - 'Ich Weiss Ein Wildes Geschlecht'
- Act One: Scene Three - 'Ein Schwert Verhiess Mir Der Vater'
- Act One: Scene Three - 'Der Manner Sippe Sass Hier Im Saal'
- Act One: Scene Three - 'Wintersturme Wichen Dem Wonnemond' - 'Du Bist Der Lenz'
- Act One: Scene Three - 'Wehwalt Heisst Du Furwahr?' - 'Siegmund Heiss Ich'
Tracks:
- Act Two: Prelude
- Act Two: Scene One - 'Nun Zaume Dein Ross' - 'Hojotoho' - 'Der Alte Sturm, Die Alte Muh'!'
- Act Two: Scene One - 'Heut Has Du's Erlebt' - 'So Ist Es Denn Aus'
- Act Two: Scene One - 'Was Verlangst Du?' - 'Dort Kommt Deine Kuhne Maid'
- Act Two: Scene Two - 'Schlimm, Furcht Ich, Schloss Der Streit'
- Act Two: Scene Two - 'Lass Ich's Verlauten' - 'Was Keinem In Worten Ich Kunde'
- Act Two: Scene Two - 'Ein Andres Ist's: Achte Es Wohl'
- Act Two: Scene Two - 'So Sah Ich Siegvater Nie'
- Act Two: Scene Three - 'Raste Nun Hier; Gonne Dir Ruh!' - 'Hinweg! Hinweg! Flieh Die Entweihte'
Tracks:
- Act Two: Scene Four - 'Siegmund, Sieh Auf Mich!' - 'Hehr Bist Du'
- Act Two: Scene Four - 'Du Sahest Der Walkure Sehrenden Blick'
- Act Two: Scene Five - 'Zauberfest Bezahmt' - 'Kehrte Der Vater Nun Heim'
- Act Three: Scene One - 'Hojotoho! Heiaha!' - 'Wart Ihr Kuhnen Zu Zweit?'
- Act Three: Scene One - 'Schutzt Mich Und Helft Mir In Hochster Not'
- Act Three: Scene One - 'Nicht Sehre Dich' - 'Fort Denn Eile' - Scene Two - 'Wo Ist Brunnhild', Wo Die Verbrecherin?'
Tracks:
- Act Three: Scene Two - 'Hier Bin Ich, Vater' - 'Nicht Straf Ich Dich Erst'
- Act Three: Scene Three - 'War Es So Schmahlich?' - 'Nicht Weise Bin Ich'
- Act Three: Scene Three - 'Deinen Leichten Sinn' - 'Wohl Taugte Dir Nicht'
- Act Three: Scene Three - 'Du Zeugtest Ein Edles Geschlecht' - 'In Festen Schlaf'
- Act Three: Scene Three - 'Leb Wohl, Du Kuhnes, Herrliches Kind!'
- Act Three: Scene Three - 'Loge, Hor! Lausche Hieher!'
Tracks:
- Act One: Prelude
- Act One: Scene One - 'Zwangvolle Plage! Muh Ohne Zweck!'
- Act One: Scene One - 'Nun Tobst Du Wieder Wie Toll'
- Act One: Scene One - 'Vieles Lehrtest Du, Mime'
- Act One: Scene One - 'Wo Hast Du Nun, Mime, Dein Minniges Weibchen'
- Act One: Scene One - 'So Starb Meine Mutter An Mir?'
- Act One: Scene One - 'Das Gab Mir Deine Mutter'
- Act One: Scene Two - 'Heil Dir, Weiser Schmied!'
- Act One: Scene Two - 'Hier Sitz' Ich Am Herd'
- Act One: Scene Two - 'Viel, Wanderer, Weisst Du Mir'
- Act One: Scene Two - 'Was Zu Wissen Dir Frommt, Solltest Du Fragen'
- Act One: Scene Two - 'Notung Heisst Ein Neidliches Schwert'
Tracks:
- Act One: Scene Three - 'Nach Eitlen Fernen Forchtest Du'
- Act One: Scene Three - 'Verfluchtes Licht! Was Flammt Dort Die Luft?'
- Act One: Scene Three - 'Fuhltest Du Nie Im Finstren Wald'
- Act One: Scene Three - 'Her Mit Den Stucken, Fort Mit Dem Stumper!'
- Act One: Scene Three - 'Notung! Notung! Neidliches Schwert!'
- Act One: Scene Three - 'Hoho! Hoho! Hohei! Hohei!'
- Act One: Scene Three - 'Den Der Bruder Schuf, Den Schimmernden Reif!'
- Act Two: Prelude
- Act Two: Scene One - 'In Wald Und Nacht Vor Neidhohl' Halt' Ich Wacht'
- Act Two: Scene One - 'Durch Vertrages Treuerunen'
- Act Two: Scene One - 'Fafner, Fafner! Erwache Wurm'
- Act Two: Scene One - 'Ich Lieg' Und Besitz', Lasst Mich Schlafen!'
- Act Two: Scene Two - 'Wir Sind Zur Stelle! Bleib Hier Stehn!'
- Act Two: Scene Two - 'He, Du Alter! Ist Das Alles'
- Act Two: Scene Two - 'Dass Der Mein Vater Nicht Ist'
Tracks:
- Act Two: Scene Two - 'Aber, Wie Sah Meine Mutter Wohl Aus?'
- Act Two: Scene Two - 'Du Holdes Voglein! Dich Hort' Ich Noch Nie'
- Act Two: Scene Two - 'Es Schweigt Und Lauscht'
- Act Two: Scene Two - Siegfried's Horn-call
- Act Two: Scene Two - 'Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen!'
- Act Two: Scene Two - 'Da Lieg, Neidischer Kerl'
- Act Two: Scene Two - 'Zur Kunde Taugt Kein Toter'
- Act Two: Scene Three - 'Wohin Schleichst Du So Eilig Und Schlau'
- Act Two: Scene Three - 'Willkommen, Siegfried!'
- Act Two: Scene Three - 'Das Sagt' Ich Doch Nicht?'
- Act Two: Scene Three - 'Neides Zoll Zahlt Notung'
- Act Two: Scene Three - 'Hei! Siegfried Erschlug Nun Den Schlimmen Zwerg!'
- Act Three: Prelude
- Act Three: Scene One - 'Wache, Wala! Wala! Erwach!'
- Act Three: Scene One - 'Stark Ruft Das Lied'
- Act Three: Scene One - 'Dir Unweisen Ruf' Ich Ins Ohr'
- Act Three: Scene Two - 'Dort Seh' Ich Siegfried Nahn'
Tracks:
- Act Three: Scene Two - 'Mein Voglein Schwebte Mir Fort!'
- Act Three: Scene Two - 'Kenntest Du Mich, Kuhner Spross'
- Act Three: Scene Two - Orchestral Interlude
- Act Three: Scene Three - Introduction
- Act Three: Scene Three - 'Selige Ode Auf Sonniger Hoh'!'
- Act Three: Scene Three - 'Das Ist Kein Mann'
- Act Three: Scene Three - 'Heil Dir, Sonne! Heil Dir, Licht'
- Act Three: Scene Three - 'O Siegfried! Siegfried! Seliger Held!'
- Act Three: Scene Three - 'Dort Seh' Ich Grane, Mein Selig Ross'
- Act Three: Scene Three - 'Ewig War Ich, Ewig Bin Ich'
Tracks:
- Prologue: 'Welch Licht Leuchtet Dort?'
- Prologue: 'Wisset Ihr Noch, So Windet Von Neuem Das Seil'
- Prologue: Orchestral Interlude (Dawn)
- Prologue: 'Zu Neuen Taten, Teurer Helde'
- Prologue: 'O Heilige Gotter! Hehre Geschlechter!'
- Prologue: Orchestral Interlude (Siegfried's Journey To The Rhine)
- Act One: Scene One - 'Nun Hor, Hagen, Sage Mir, Held'
- Act One: Scene One - 'Brachte Siegfried Die Braut Dir Heim'
- Act One: Scene Two - 'Heil! Siegfried, Teurer Held'
- Act One: Scene Two - 'Willkommen, Gast, In Gibichs Haus'
Tracks:
- Act One: Scene Two - 'Deinem Bruder Bot Ich Mich Zum Mann'
- Act One: Scene Two - 'Bluhenden Lebens Labendes Blut'
- Act One: Scene Two - 'Hier Sitz Ich Zur Wacht'
- Act One: Scene Two - Orchestral Interlude
- Act One: Scene Three - 'Altgewohntes Gerausch Raunt Meinem Ohr Die Ferne'
- Act One: Scene Three - 'Hore Mit Sinn, Was Ich Dir Sage'
- Act One: Scene Three - 'Welch Banger Traume Maren'
- Act One: Scene Three - 'Brunnhild'! Ein Freier Kam'
Tracks:
- Act Two: Prelude
- Act Two: Scene One - 'Schlafst Du, Hagen, Mein Sohn?'
- Act Two: Scene One - Orchestral Interlude
- Act Two: Scene Two - 'Hoiho, Hagen! Muder Mann!'
- Act Two: Scene Three - 'Hoiho! Ihr Gibichsmannen'
- Act Two: Scene Four - 'Heil Dir, Gunther'
- Act Two: Scene Four - 'Brunnhild', Die Hehrste Frau'
- Act Two: Scene Four - 'Was Muht Brunnhildes Blick?'
- Act Two: Scene Four - 'Ha! Dieser War Es, Der Mir Den Ring Entriss'
- Act Two: Scene Four - 'Helle Wehr! Heilige Waffe!'
- Act Two: Scene Five - 'Welches Unhods List Liegt Hier Verhohlen?'
- Act Two: Scene Five - 'Dir Hilft Kein Hirn'
- Act Three: Prelude - Scene One - 'Frau Sonne Sendet Lichte Strahlen'
Tracks:
- Act Three: Scene One - 'Siegfried!'
- Act Three: Scene One - 'Ihr Listigen Frauen, Lasst Das Sein!'
- Act Three: Scene Two - 'Hoiho!'
- Act Three: Scene Two - 'Trink, Gunther, Trink!'
- Act Three: Scene Two - 'Mime Hiess Ein Murrischer Zwerg'
- Act Three: Scene Two - 'Brunnhilde, Heilige Braut!'
- Act Three: Scene Two - Orchestral Interlude: Funeral March
- Act Three: Scene Three - 'War Das Sein Horn?'
- Act Three: Scene Three - 'Schweigt Eures Jammers Jauchzenden Schwall'
- Act Three: Scene Three - 'Starke Scheite Schichtet Mir Dort'
- Act Three: Scene Three - 'Mein Erbe Nun Nehm' Ich Zu Eigen'
- Act Three: Scene Three - 'Grane, Mein Ross, Sei Mir Gegrusst!'
- Act Three: Scene Three - 'Zuruck Vom Ring!'
Album Details
14 CD Box Set, Including the Complete Recording of Wagner's 'ring Des Nibelungen'.Customer Reviews:
An Extraordinary Ring.......2007-07-28
There are certainly enough reviews praising this recording and its counterpart, the Bayreuth Tristan, so one more can hardly add anything. I would only say that of all the Ring recordings I have encountered, this one is the least idiosyncratic and most true, and yet it could have been realized by noone other than Karl Bohm.
"Schau, Mime, du Schmied! So schneidet Siegfried's Schwert!".......2007-05-15
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
The best Ring in the market.......2006-07-05
This Ring is the first Bayreuth Ring officially recorded and the sound is excellent and well-balanced compared to other Rings of the era. He is also an outstanding Ring conductor in that his use of fast tempi, passion, lyricism, and phrasing that sings and sometimes almost dances creates a very theatrical atmosphere and offers amazing musical richness. Listen to the opening bars of Rheingold and his Gotterdammerung Prelude, and you will know what I mean. He and Wieland Wagner have created a stage drama that is unsurpassed in dramatic value. His Ring displays wonderful humanity and the rendering of each character's feelings has never been so alive, not even in Solti or Karajan's readings. Highly recommended.
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Wagner: Der Ring des Nibelungen (Box Set)
Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD All Works by Wagner
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ASIN: B00005YCS5 Release Date: 2001-06-12 |
Customer Reviews:
Surprisingly Good.......2004-11-20
The vocals come through clearly and for a live performance the sound is very clean. My edition came with the lyrics in German only, so unless your German is reasonably good you will need to find an English translation somewhere to help you out, but this is a small quibble. If you know the storyline you'll be able to follow things reasonably well. Having caught the Wagner bug at age 15 I can once again feel the bug takingi ts effect:-)
Excellent recording at reasonable price.......2004-01-26
A Ring Cycle for everyone!.......2003-03-03
Now comes this excellent performance, live (all the better), with excellent sound! And at a price even poor students on a budget can afford. Better yet, have mom and dad spring for your copy. No family should be without one!
An excellent complete Ring at a reasonable price........2003-01-20
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Wagner: The Compact Ring (Highlights from Der Ring des Nibelungen) / Levine; Metropolitan Opera Orchestra
Richard Wagner (composer) , James Levine , and Metropolitan Opera Orchestra Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Wagner
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ASIN: B000001GJ6 Release Date: 1993-03-16 |
Tracks:
- The Nibelung's Ring: The Rhinegold: Scene 1: 'Lugt, Schwestern! Die Weckerin lacht in den Grund' (Alberich)
- The Nibelung's Ring: The Rhinegold: Scene Four: 'Zur Burg fuhrt die Brucke' (Wotan, Fricka, Loge)
- The Nibelung's Ring: The Valkyrie: Act One: 'Der Manner Sippe sass hier im Saal' (Sieglinde)
- The Nibelung's Ring: The Valkyrie: Act Three: (The Ride Of The Valkyries) 'Hojotoho! Hojotoho!'
- The Nibelung's Ring: The Valkyrie: Act Three: 'Der Augen leuchtendes Paar' (Magic Fire Music) (Wotan)
- The Nibelung's Ring: Siegfried: Act Two: 'Aber, wie sah meine Mutter wohl aus?' (Forest Murmurs) (Siegfried)
- The Nibelung's Ring: Siegfried: Act Two: 'Nun sing! Ich lausche dem Gesang' (Siegfried, Woodbird)
- The Nibelung's Ring: Siegfried: Act Three: 'Heil dir, Sonne! Heil dir, Licht!' (Brunnhilde, Siegfried)
- The Nibelung's Ring: Twilight Of The Gods: Act Three: (Funeral March)
- The Nibelung's Ring: Twilight Of The Gods: Act Three: 'Fliegt heim, ihr Raben!' (Brunnhilde)
Customer Reviews:
Right For The Money.......2006-06-27
Lovely moments from a disappointing Ring.......2005-10-07
The cycle also suffered from Levine's extremely leisurely pace, which seems slack rather than profound.
That said, DG has made a silk purse of of half a sow's ear. These excerpts show off the best in Levine's approach and skirt the worst. One would have liked to hear much more of James Morris's Wotan, since he was by far the star of the show. Hildegard Behrens is heard to good effect in the Immolaiton Scene that ends the cycle, as well as the Awakening Scene from Siegfried. The orchestral excerpts are gorgeously played, and even though I would not rank any single opera from Levine's Ring as the best on record, this "compact Ring" is excellent on its own.
A good introduction.......2005-08-08
What results is a compelling but not overwhelming exhibition disc for James Morris and Hildegard Behrens, the former as a gravelly, sonorous Wotan, and the latter as a svelte, willowy Brünnhilde. Morris is certainly superior to the archaic, defeated Hans Hotter of Solti's Die Walküre (and, arguably, Theo Adam in Böhm's and Thomas Stewart in Karajan's) during his farewell to Brünnhilde ("Der Augen leuchtendes Paar"). Behrens is no Nilsson (nor a Dernesch, nor a Crespin) but she is, nonetheless, a very lovely Valkyrie, both in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht!") and in the Immolation Scene ("Fliegt heim, ihr Raben!"). Reiner Goldberg is competent as Siegfried in the Waldweben ("Aber, wie sah meine Mutter wohl aus?"), but he is far removed from the realms of Wolfgang Windgassen and Jess Thomas. Jessye Norman is a mature but lyrically radiant Sieglinde. Kathleen Battle supplies her sugary, enchanting tone for the small but potent role of the Woodbird. Siegfried Jerusalem makes a brief appearance as Loge (in a definitely less caricatured capacity than Gerhard Stolze). Mark Baker is a plain but virile Froh. Hei-Kyung Hong, Diane Kesling, and Meredith Parsons are particularly harmonious as the Rheintöchter.
However, the rest of the soloists are barely nonexistent. Christa Ludwig is insultingly truncated as Fricka. Ekkehard Wlaschiha's Alberich (which rivals the interpretations of Gustav Neidlinger and Zoltan Kélémén) is heard only twice. Matti Salminen's Hagen is limited to a sole outburst of "Zurück vom Ring!" Other noted performances from Levine's Ring are deleted entirely: Heinz Zednik's slimy but very human Mime, Kurt Moll's baleful Hunding, Cheryl Studer's Gutrune, and Bernd Weikl's Gunther.
In spite of everything, this "compact Ring" is an item to have simply for Levine's presentation of the Walkürenritt ("Hojotoho! Hojotoho!"). The Metropolitan Opera Orchestra is in superb form and the eight furious, calamitous voices of Wotan's battle maidens (supplied by Marita Napier, Linda Kelm, Reinhild Runkel, Ruthild Engert, Marilyn Mims, Anne Wilkens, Kesling, and Parsons) mesh in a tapestry of thunderous doom and emotion.
Incredible. Levine/Met is the Wagner to buy........2005-02-05
NOTE: If you like this CD, then trust me--just buy the whole "Ring" set conducted by Levine. It's expensive (over $100), but it's 14 CDs and one of the best musical investments you'll ever make.
Great driving music.......2004-12-29
This also makes a good introduction.
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Wagner: Der Ring des Nibelungen
Manufacturer: Warner Classics ProductGroup: Music Binding: Audio CD All Works by Wagner
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ASIN: B0009BOJSO Release Date: 2005-11-08 |
Tracks:
- Vorspiel - Prelude - Prelude - John Tomlinson
- Weia! Waga! Woge, Du Welle - John Tomlinson
- He He! Ihr Nicker! - John Tomlinson
- Garstig Glatter Glitschriger Glimmer! - John Tomlinson
- Wie In Den Gliedern Brunstige Glut Mir Brennt - John Tomlinson
- Lugt, Schwestern! - John Tomlinson
- Was Ist's, Ihr Glatten, Das Dort So Glanzt - John Tomlinson
- Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich? - John Tomlinson
- Wotan, Gemahl! Erwache! - John Tomlinson
- Um Des Gatten Treue Besorgt - John Tomlinson
- Um Des Gatten Treue Besorgt - John Tomlinson
- Endlich Loge! - John Tomlinson
- Immer Ist Undank Loges Lohn! - John Tomlinson
- Dir's Zu Melden Gelobt' Ich Den Madchen - John Tomlinson
- Hor, Wotan, Der Harrenden Wort! - John Tomlinson
- Uber Stock Und Stein Zu Stapfen Sie Hin - John Tomlinson
- Was Sinnt Nun Wotan So Wild? - John Tomlinson
- Auf, Loge, Hinab Mit Mir! - John Tomlinson
- Hehe! Hehe! Hieher! - John Tomlinson
- Nibelheim Hier - John Tomlinson
Tracks:
- Wer Halfe Mir? - Gunter von Kannen
- Nehmt Euch In Acht! Alberich Naht - Gunter von Kannen
- Zittre Und Zage, Gezahmtes Heer - Gunter von Kannen
- Was Wollt Ihr Hier? - Gunter von Kannen
- Die In Linder Lufte Wehn Da Oben Ihr Lebt - Gunter von Kannen
- Wen Doch Fabt Nicht Wunder, Erfahrt Er Alberichs Werk? - Gunter von Kannen
- Riesen-Wurm Winde Sich Ringelnd - Gunter von Kannen
- Krumm Und Grau Krieche Krote! - Gunter von Kannen
- Da, Vetter Sitze Du Fest! - Gunter von Kannen
- Gezahlt Hab' Ich: Nun Labt Mich Ziehn! - Gunter von Kannen
- Ein Goldner Ring Ragt Dir Am Finger - Gunter von Kannen
- Ist Er Gelost? - Gunter von Kannen
- Lauschtest Du Seinem Liebesgrub? - Gunter von Kannen
- Lieblichste Schwester, Subeste Lust! - Gunter von Kannen
- So Sind Wir Denn Fertig. Seid Ihr Zufrieden? - Gunter von Kannen
- Weiche, Wotan, Weiche! - Gunter von Kannen
- Hort, Ihr Riesen! Zuruck, Und Harret - Gunter von Kannen
- Halt, Du Gieriger! Gonne Mir Auch Was! - Gunter von Kannen
- Was Gleicht, Wotan, Wohl Deinem Glucke? - Gunter von Kannen
- Schwules Gedunst Schwebt In Der Luft - Gunter von Kannen
- Abdenlich Strahlt Der Sonne Auge - Gunter von Kannen
- Ihrem Ende Silen Sie Zu - Gunter von Kannen
- Rheingold! Rheingold! - Gunter von Kannen
Tracks:
- Vorspiel - Prelude - John Tomlinson
- Wes Herd Dies Auch Sei - John Tomlinson
- Kuhlende Labung Gab Mir Der Quell - John Tomlinson
- Einen Unseligen Labtest Du - John Tomlinson
- Mud Am Herd Fand Ich Den Mann - John Tomlinson
- Friedmund Darf Ich Nicht Heiben - John Tomlinson
- Aus Dem Wald Treib Es Mich Fort - John Tomlinson
- Die So Leidig Los Dir Beschied - John Tomlinson
- Ich Weib Ein Wildes Geschlecht - John Tomlinson
- Ein Schwert Verhieb Mir Der Vater - John Tomlinson
- Schlafst Du, Gast? - John Tomlinson
- Der Manner Sippe Sab Hier Im Saal - John Tomlinson
- Winterstume Wichen Dem Wonnemond - John Tomlinson
- Du Bist Der Lenz, Nach Dem Ich Verlangte - John Tomlinson
- O Subeste Wonne! - John Tomlinson
- War Walse Dein Vater - John Tomlinson
- Siegmund Heib' Ich - John Tomlinson
Tracks:
- Vorspiel - Prelude - John Tomlinson
- Nun Zaume, Dein Rob, Reisige Maid! - John Tomlinson
- Der Alte Sturm, Die Alte Muh'! - John Tomlinson
- So Ist Es Denn Aus Mit Den Ewigen Gottern - John Tomlinson
- Nichts Lerntest Du, Wolt - John Tomlinson
- Was Verlangst Du? - John Tomlinson
- Deiner Ew' Gen Gattin Heilige Ehre - John Tomlinson
- Schlimm, Furcht' Ich, Schlob Der Streit - John Tomlinson
- Als Junger Liebe Lust Mir Verblich - John Tomlinson
- Ein Andres Ist's: Achte Es Wohl - John Tomlinson
- Ao Nimmst Du Von Siegmund Den Sieg? - John Tomlinson
- So Nimm Meinen Segen, Niblungen - Sohn - John Tomlinson
Tracks:
- So Sah Ich Siegvater Nie - John Tomlinson
- raste Nun Hier; Gonne Dir Enweihte! - John Tomlinson
- Hinweg! Flieh Die Enweihte! - John Tomlinson
- Wo Bist Du, Siegmund? - John Tomlinson
- Siegmund! Sieh Auf Mich! - John Tomlinson
- Du Sahest Der Walkure Sehrenden Blick - John Tomlinson
- Weh! Weh! Subestes Weib - John Tomlinson
- So Jung Und Schon Erschimmerest Du Holden Schmerz - John Tomlinson
- ZAuberfest Bezahmt EinSchlaf Der Holden Schmerz - John Tomlinson
- Wehwalt! Wehwalt! - John Tomlinson
Tracks:
- Vorspiel - Prelude - Hojotoho! Hojotoho! - John Tomlinson
- Schutzt Mich Und Helft In Hochster Not! - John Tomlinson
- Nicht Sehre Dich Sorge Um Mich - John Tomlinson
- So Fliehe Denn Eilig Und Fliehe Allein! - John Tomlinson
- Wo Ist Brunnhild', Wo Die Verbrecherin? - John Tomlinson
- Hier Bin Ich, Vater: Gebiete Die Strafe - John Tomlinson
- War Es So Schmahlich, Was Ich Verbach - John Tomlinson
- Als Fricka Den Eignen Sinn Dir Entfremdet - John Tomlinson
- So Tatest Ein Edles Geschlecht - John Tomlinson
- Du Zeugtest Ein Edles Geschlecht - John Tomlinson
- Was hast Du Erdacht, Dab Ich Erdulde? - John Tomlinson
- Der Augen Leuchtendes Paar - John Tomlinson
- Der Augen Lechtendes Paar - John Tomlinson
- Loge, Hor! Lausche Hieher! - John Tomlinson
Tracks:
- Orchestervorspiel - Prelude - Gunter von Kannen
- Zwangvolle Plage! Muh' Ohne Zweck! - Gunter von Kannen
- Hoiho! Hoiho! Hau Ein! Hau Ein! - Gunter von Kannen
- Da Hast Du Die Stucken, Schandluicher Stumper - Gunter von Kannen
- Als Zullendes Kind Zog Ich Dich Auf - Gunter von Kannen
- Vieles Lehrtest Du, Mime - Gunter von Kannen
- Mein Kind, Das Lehrt Dich Kennen - Gunter von Kannen
- Wo hast Du, Mime, Dein Minniges Weibchen - Gunter von Kannen
- Einst Lag Wimmernd Ein Weib - Gunter von Kannen
- Und Diese Stucken Sollst Du Mmir Schmieden - Gunter von Kannen
- Da Sturmt Er Hin! - Gunter von Kannen
- Heil Dir, Weiser Schmied! - Gunter von Kannen
- Hier Sitz' Ich Am Herd Und Setze Mein Haupt - Gunter von Kannen
- Du Ruhrtest Dich Viel Auf Der Erde Rucken - Gunter von Kannen
- Viel, Wanderer, Weibt Du Mir Aus Der Erde Nabelnest - Gunter von Kannen
- Viel, Wanderer, Weibt Du Mir Von Der Erde Rauhem Rucken - Gunter von Kannen
- Fragen Und Haupt Hast Du Gelost - Gunter von Kannen
- Nun, Ehrlicher Zwerg, Sag MIr Zum Ersten - Gunter von Kannen
- Wie Doch Genau Das Geschlecht Du Mir Nennst - Gunter von Kannen
- Ha Ha Ha Ha! Der Witzgste Bist Du Unter Den Weisen - Gunter von Kannen
- Dreimal Solltest Du Fragen, Dremal Stand Ich Luft - Gunter von Kannen
- Verfluchtes Du Nie Im Finstren Wald - Gunter von Kannen
- Heda! Du Fauler! Bist Du Nun Fertig? - Gunter von Kannen
- Fuhltest Du Nie Im Finstren Wald - Gunter von Kannen
- Sonderlich Seltsam Mub Das Sein! - Gunter von Kannen
- Feine Finten Weib Mir Der Faule - Gunter von Kannen
- Notung! Notung! Neidliches Schwert! - Gunter von Kannen
- Bald Schwing' Ich Dich Als Mein Schwert - Gunter von Kannen
- Hoho! Hoho! Hahei! - Gunter von Kannen
Tracks:
- Orchestervorspiel - Prelude - Gunter von Kannen
- In Wald Und Nacht Vor Neidhohl Halt' Ich Wacht - Gunter von Kannen
- Wer Naht Dort Schimmernd Im Schatten? - Gunter von Kannen
- Mit Mir Nicht, Hadre Mit Mime - Gunter von Kannen
- Fafner! Fafner! Erwache, Wurm! - Gunter von Kannen
- Wir Sind Zur Stelle! - Gunter von Kannen
- Dab Der Mein Vater Nicht Ist, Wie Guhl' Ich Vater Nicht Ist, Wie Fuhl' Ich Mich Drob Froh! - Gunter von Kannen
- Dab Der Mein Vater Nicht Ist, Wie Fuhl Ich Drob So Froh! - Gunter von Kannen
- Aber - Wie Sah Meine Mutter Wohl Aus? - Gunter von Kannen
- Meine Mutter - Ein Menschenweib! - Gunter von Kannen
Tracks:
- Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen! - Gunter von Kannen
- Da Lieg, Neidleichst Du Eilig Und Schlau - Gunter von Kannen
- Zur Kunde taugt Kein Toter - Gunter von Kannen
- Wohin Schleichst Du Eilig Und Schlau - Gunter von Kannen
- Was Ihr Mir Nutzt, Weib Ich Nicht - Gunter von Kannen
- Willkommen Siegfried! - Gunter von Kannen
- Sieh, Du Bist Mude Von Harten Last! - Gunter von Kannen
- Neides Zoll Zahlt Notung - Gunter von Kannen
- Heib Ward Mir Von Der Harten Last! - Gunter von Kannen
- Nun Sing! Ich Lausche Dem Gesang - Gunter von Kannen
- Orchestrevorspiel - Prelude - Gunter von Kannen
- Wache, Wala! Wala! Erwach! - Gunter von Kannen
- Stark Ruft Das Lied - Gunter von Kannen
- Mein Schlaf ist Traumen - Gunter von Kannen
Tracks:
- Dir Unweisen Ruf' Ich Ins Ohr - Gunter von Kannen
- Dort Seh' Ich Siegfried Nahn - Gunter von Kannen
- Was lachst Du Mich Aus? Alter Frager! - Gunter von Kannen
- Kenntest Du Mich, Kuhner Sprob, Den Schimpf Spartest Du Mir! - Gunter von Kannen
- Mit Zerfochntner Waffe Floh Mir Der Feige? - Gunter von Kannen
- Selige Ode Auf Sonniger Hoh! - Gunter von Kannen
- Das ist Kein Mann! - Gunter von Kannen
- Heil Dir, Sonne - Gunter von Kannen
- O Siegfried! Siegfried! Seliger Held! - Gunter von Kannen
- Dort Seh' Ich Grane, Mein Selig Rob - Gunter von Kannen
- Kein Gott Nahte Mir Je! - Gunter von Kannen
- Ewig War Ich, Ewig Bin Ich - Gunter von Kannen
- Dich Lieb' Ich: O Liebtest Mich Du! - Gunter von Kannen
- lachend Mub Ich Dich Lieben - Gunter von Kannen
Tracks:
- Dir Unweisen Ruf' Ich Ins Ohr - Gunter von Kannen
- Dort Seh' ich Siegfried Nahn - Gunter von Kannen
- Was Lachst Du Mich Aus? Alter Frager! - Gunter von Kannen
- Kenntest Du Mich, Kuhner Sporb, Den Schimpf Spartest Du Mir! - Gunter von Kannen
- Mit Zerfochtner Waffe Floh Mir Der Feige? - Gunter von Kannen
- Selige Ode Auf Sonniger Hoh! - Gunter von Kannen
- Das Ist Kein Mann! - Gunter von Kannen
- Heil Ist Kein Mann! - Gunter von Kannen
- O Siegfried! Siegfried! Seliger Held! - Gunter von Kannen
- Dort Seh' Ich Grane, Mein Selig Rob - Gunter von Kannen
- Kein Gott Nahte Mir Je! - Gunter von Kannen
- Ewifg War Ich, Ewig Bin Ich - Gunter von Kannen
- Dich Lieb' ich: O Liebtest Mich Du! - Gunter von Kannen
- Lachend Mub Ich Dich Lieben - Gunter von Kannen
Tracks:
- Wer Ist Gibichs Sohn? - Gunter von Kannen
- Begrube Froh, O Held, Die Halle Meines Vaters - Gunter von Kannen
- Wilkommen, Gast, In Gibichs Haus! - Gunter von Kannen
- Deinem Bruder Bot Ich Mich Zum Mann - Gunter von Kannen
- Bluhenden Lebens Labendes Blut Traufelt' Ich In Den Trank - Gunter von Kannen
- Frisch Auf Die Zur Wacht - Gunter von Kannen
- Altegewohntes Gerausch Raunt Meinem Ohr Die Ferene - Gunter von Kannen
- Altegewohntes Gerausch Raunt Meinem Ohr Ferne - Gunter von Kannen
- Hore Mit Sinn, Was Ich Dir Sage! - Gunter von Kannen
- Welch Banger Traume Maren Meldset Du Traurige Mir! - Gunter von Kannen
- Blitzend Gewolk, Vom Wind Getragen, Sturme Dahin - Gunter von Kannen
- Brunnhild! Ein Freier Kam, Den Dein Feuer Nicht Erschreckt - Gunter von Kannen
Tracks:
- Orchestervorspiel - Prelude - Gunter von Kannen
- Schlafst Du, Hagen, Mein Sohn? - Gunter von Kannen
- Der Ewigen Macht, Wer Erbte Sie? - Gunter von Kannen
- Hoiho, Hagen! Muder Mann! - Gunter von Kannen
- Heib Mich Willkommen, Gibichskind! - Gunter von Kannen
- Hoiho! Hoihohoho! Ihr Gibchsmannen, Machet Euch Auf! - Gunter von Kannen
- Was Tost Das Horn? - Gunter von Kannen
- Rustet Euch Wohl Und Rastet Nicht - Gunter von Kannen
- Heil Dir, Gunther! - Gunter von Kannen
- Gegrubt Esi, Teurer HeldL Gegrubt, Holde Schwester! - Gunter von Kannen
- Einen Ring Sah Ich An Deiner Hand - Gunter von Kannen
- Betrug! Betrug! Schandlichster Betrug!! - Gunter von Kannen
- Achtest Du So Der Eignen Ehre? - Gunter von Kannen
- Helle Wehr! Heilige Waffe! - Gunter von Kannen
- Hilf, Donner - Gunter von Kannen
- Welches Unholds List Liegt Hier Verhohlen? - Gunter von Kannen
- Wer Bietet Mir Nun Das Hier Verhohlen? - Gunter von Kannen
- Auf, Gunther, Edler Gibichung! - Gunter von Kannen
- Mub Sein Tod Sie Betruben, Verhehlt Sei Ihr Die Tat - Gunter von Kannen
Tracks:
- Orchestervorspiel - Prelude - Gunter von Kannen
- Frau Sonne Sendet Lichte Strahlen - Gunter von Kannen
- Ein Albe Fuhrte Mich Irr - Gunter von Kannen
- Noch Bin Ich Beutelos - Gunter von Kannen
- Behalt Ihn, Held, Und Wahr Ihn Wohl - Gunter von Kannen
- Ihr Listigen Frauen, Labt Das Sein! - Gunter von Kannen
- Kommt, Schwestern! - Gunter von Kannen
- Hoiho! - Gunter von Kannen
- Trink, Gunther, Trink! - Gunter von Kannen
- Mime Hieb Ein Murrischer Zwerg - Gunter von Kannen
- In Leid Zu Dem WipfelLauscht' Ich Hinauf - Gunter von Kannen
- Erratst Du Auch Dieser raben Geraun? - Gunter von Kannen
- Brunnhilde! Heilige Braut! - Gunter von Kannen
- Orchesterzwischenspiel: Traurzug Interlude: Funeral Procession Interlude Orchestral: MArche Funebre - Gunter von Kannen
- War Des Sein Horn? Nein! Noch Kehrt Er Nicht Heim - Gunter von Kannen
- Hoiho! Hoiho! Wacht Auf! Wacht Auf! - Gunter von Kannen
- Siegfried - Siegfried Erschlagen! - Gunter von Kannen
- Schweigt Eures Jammers Jauchzenden Schwall - Gunter von Kannen
- Starke Scheite Schichtet Mir Dort Am Rande Des Rheins - Gunter von Kannen
- O Ihr, Der Eide Ewige Huter! - Gunter von Kannen
- Mein Erbe Nun Nehm' Ich Zu Eigen - Gunter von Kannen
- Fliegt Heim, Ihr Raben! - Gunter von Kannen
- Grane, Mein Rob, Sei Mir Gegrubt - Gunter von Kannen
- Zuruck Vom Ring! - Gunter von Kannen
Album Description
The production of a new Ring at the Bayreuth Festival is an event that takes place every six years. Bayreuth recordings of the complete cycle are rare; this is only the third official audio recording and the second filmed version. The Kupfer/Barenboim Ring was performed over a five-year period and recorded at the conclusion when the "Bayreuth Workshop" had raised "the quality of the performance to an almost unsurpassable level" (Der Tagesspiegel).Customer Reviews:
Get the DVDs instead. The CDs just don't cut it........2007-06-15
This Ring's acting is committed, for which the director, Harry Kupfer, gets the credit. Occasionally Maestro Barenboim balances an orchestral chord or two in a novel way, for which he can take credit. Otherwise this is poor stuff.
Daniel Barenboim, for all his idolatry of Wilhelm Furtwangler, has never figured out how to get from here to there with any feeling of naturalness or inevitability. His awkward pacing makes him no better than mediocre among the Wagner conductors of the last 50 years. He is not at all competitive with Krauss, Keilberth, Kempe, Konwitschny, Bohm, Sawallisch, Solti or Karajan, all of whom make better sense of Wagner's ebb and flow. He is not even competitive with Leinsdorf or Leitner or Hollreiser. A few pretty sounds from the pit do not compensate for a persistent inability to make one section of music follow organically from another.
The singing in this production is bearable on TV, but not so on CD. Siegfried Jerusalem acquits his parched, undersized Siegfried with dignity. However, Anne Evans sounds tremulous and small as Brunnhilde and John Tomlinson declaims brutally at the expense of the musical line, to the utter destruction of Wotan's Farewell. The two of them sound like an Annina and Baron Douphol out of "La Traviata" who've been encouraged by treacherous management to stray out of their league.
Nadine Secunde as Sieglinde is in terrible vocal shape, and Poul Elming has trouble with the top notes as Siegmund, the lowest lying tenor part Wagner ever wrote.
Watch them on DVD instead, and if you must have a CD set, pick up the Bohm at a bargain price, where only a few singers have wobbles instead of all of them, and most have vocal reserves to call upon instead of sounding like they're about to die at any minute. The end of "Walkure" Act One makes for a devastating comparison - Leonie Rysanek and James King are far better.
Then save up your lunch money and get the Keilberth Ring on Testament. Listen to Hans Hotter actually sing Wotan's Farewell, and compare it to John Tomlinson's parlando bellowing. Hotter is so far superior, they're not in the same Valhalla.
A Ferrari and a lawnmower can both do 4 mph. But one can open up with security and confidence and dazzle you, while the other can't ever do any more than 4 mph. That's the difference between Birgit Nilsson's all-enveloping Immolation Scene, where she sounds like she could do the whole thing over again as an encore, and tiny-voiced Anne Evans, who sounds like she'd collapse just at the suggestion.
This set and the Boulez should both survive into a long future as DVDs, but the CDs for both are inadequate, even annoying souvenirs of the weakest part of their productions, the singing.
NIBELUNGEN "BEST BUY".......2007-02-04
Here's a staggering bargain.
These much-praised Bayreuth performances have been available on Teldec since 1994; now Warner has reissued them in a single box and they're an irresistible value: 1/2 the cost, 1/3 the shelf space, still accompanied by 4 deluxe booklets (containing complete German librettos, William Mann's English translations, essays, interviews, performance photos, and 100+ leitmotifs in the margins), plus there's a bonus DVD with generous excerpts from the Unitel video. Rival sets with comparable amenities (Karajan, Solti, Goodall, Keilberth) sell for 2-3 times as much. Budget-priced competitors (the admirable Janowski set, the more variable traversals of Boehm, Levine, Haitink, and Sawallisch) offer only meager pamphlets with plot summaries.
ENGINEERING
Unitel filmed this production during off hours at the 1991-92 Bayreuth festivals - the full staging with no audience, performances featuring live-event energy under controlled conditions. The digital stereo is the lushest I've enjoyed on any Ring recording: Bayreuth's famed acoustic is palpable, there's real room sound, immediacy, and three-dimensionality (but a shade more depth and airiness in '91 - compare the timpani figures in the Todesverkundigung and Siegfried's death scene). Stage noises are mostly unobtrusive: occasional faint shufflings, Hunding banging assorted props in Walkuere, otherwise comparatively few distractions.
CONDUCTOR & ORCHESTRA
These CDs furnish some of the most sumptuous instrumental and choral work you'll hear on ANY Wagner recording. Furtwaengler may be one of his deities, but here Barenboim is the master colorist, closer to Karajan, even to Stokowski. At Bruennhilde's awakening the strings are creamy; launching Goetterdaemmerung Act 3, the brass have a cushioned radiance. More than any recent competitor, Barenboim is supple and specific from beat to beat, turning up subtleties heard nowhere else. In Rhinegold sc. 2 where the gods grow old: the strings sound numb, drained, and fragile. Or Fasolt's murder: an ugly surprise, the curse motive in the brass icy and vibratoless. Or the woodwind asides throughout Siegfried Act 1: Mozartean in their mischief. Or the fatal turning point at "In kampfe nicht": while Bruennhilde teeters on the edge of the pit, the whole orchestra holds its breath. As for the big showpieces - Rheingold's coda, the valkyrie ride, the Siegfried Act 3 prelude - they're breathtakingly powerful yet deft and transparent. In short, there's no more illuminating statement of this vast music on disk.
CAST
The production introduced an all-new, prime-of-life cast, and for continuous listenability Barenboim's lineup outpoints even Janowski's. With his huge, dark, rolling sound, Tomlinson is a stupendous Wotan, every inch the fearsome warlord of myth. Yes, he's a true bass and his high Fs are the end of the line, but he's a consummate theater animal, luxuriant in the "Abendlich strahlt" and Farewell, hypnotic with his big interior monologue, sly and amusing in his Wanderer persona; unquestionably this is a major portrayal. As Bruennhilde, Evans sounds young, sensitive, and technically impeccable - dead-center intonation, effortless slurs in the war cry, consistently lovely tone, and a glowing top that easily rides the orchestra. Her caliber is light for the role, but in the long-lined lyric passages she yields to nobody: "War es so schmaehlich" and "Ewig war ich" are as poised and poignant as I've heard them.
As lead tenor, Jerusalem's adroit musicianship, vivid declamation, and burnished tone are a further pleasure, and he deserves an award for playing his reed-pipe scene in earnest rather than for laughs - Siegfried's loneliness and befuddlement become sincerely touching. True, his voice wearies during the wooing sequence, but he's on form for all of Goetterdaemmerung. Also, his Volsung parents are an exceptional pair: Elming's tenor is fresh and gleaming, Secunde has a sultry soprano, and along with Hoelle's ferocious Hunding, they do exhilarating work in Walkuere Act 1.
Hoelle's Fasolt is better natured but just as granitic; in fact the low voices here are close to superb: Kang is insidious as Fafner and Hagen - a fine-grained, well-knit instrument from top to bottom. As for Alberich, von Kannen is positively virtuosic: his sound isn't plush, but it's firm and in charge over both octaves, he sells the text with immense skill, and the curse is white-hot. Only Brinkmann (Gunther) disappoints, a good baritone behaving badly - attractive in his ariosos, pinched and strained when he tries to get dramatic.
The rest are competitive. Clark's reedy tenor doesn't keep his Loge and Mime from being flamboyantly entertaining. Bundschuh's dusky timbre suggests a forty-something Gutrune, but she's decent listening. Barenboim's other women are all capable: Meier's Waltraute boasts crisp diction, compact tone, and flawless tuning, Svenden's Erda is similarly alert and appealing, Finnie's a high-energy Fricka with potent top notes. Since these ladies double the bit parts, we also get world-class teams of norns, valkyries, and rhinemaidens.
VERDICT
In sum, the total achievement here is formidable - unsurpassed engineering, top-drawer singing, exquisite orchestral playing, uniquely evocative conducting ... and lavish libretto booklets. Verdict: the Ring with the most bang for your buck.
A legendary release!.......2006-12-16
This superb collection must be included as an obligated reference at the moment you decide to have one of the most complete and extraordinary documents in the Opera History. There is any hole; a superb cast Tomlinson is one the greatest Wotan, the memorable stages, the ravishing illumination, the impressive level of expressiveness of every single character, the incisiveness of the main motifs, the grimace language, the superb eloquence of every little line and the absorbing dramatis personae make of this excellent set a must-have.
Don't miss it under any single pretext this portentous and so long expected Ring.
Great music, great singing.......2006-10-08
Most rings live and die with Wotan. For those who are introduced to the ring with Levines DVD, it is difficult to tolerate anything less than James Morris' outstanding singing, full of full throated and tender legato which tends to reveal a caring fatherly Wotan. Compare Morris and BB's Wotan in Der Alte Sturme and you will find Tomlinsons over annunciation quite unqualified and interfering with the natural beauty and flow of the music. Though overall Tomlinson doesn quite match up to Morris, he is an outstanding Wotan overall. His voice really grows on you as the cycle progresses and it is always apparent how well Tomlinson knows Wotan inside and out. His farewell at the end of Walkure is marvelous, a true test for any Wotan, and he really lets go emotionally and vocally. Despite starting off in rheingold with, as stated before, a tendency to talk instead of sing, which is natural and almost unnoticable when watching the DVD, I tended to long for Morris or Hotter's interpretation with Krauss and KNA. But as this review will be for amateur only, I will not go into the old recording very much and I will also consider price.
BB's brunnhilde is much finer than Behrens on dvd, though on the cd, behrens voice is more powerful than it was several years later when the DVDs were recorded(she is beyond her prime in both).
Of all modern versions, for those who are new to the ring, I would recomend Levine's DVD versions first and foremost. Despite Behrens, everything else is first class. The production is romantic so that first timers will see a something similar to what Wagner intended and what their mind's eye may be predicting. The BB dvd's are complete polar opposites of that visual interpretation, not for those new to the ring.
After aquiring Levine's dvd, I would recomend this set, over Solti's(yes, over Solti's and Karajan's) though not over Bohms. Bohm happens to play with the same orchestra which is interesting to hear this always superb group forty years apart. Though the Bohm doesnt have Hotter, and all who are interested in the Ring must, MUST, hear Hotter's portrayal, though STAY AWAY FROM SOLTI"S DIE WALKURE_it is dreadful after the first act and Hotter is past his prime and sounds as if he is being recorded in an underwater grotto.
For those new to the ring
1. Buy Levine's DVD set
2. Buy this or Bohm's on CD.
fine
Bowled over by Barenboim - Exhilarating beauty and dramatic power in the best modern Ring ..........2006-08-27
In fact, my sympathy, appreciation, affection and ultimately love for Der Ring des Nibelungen in general is in fact directly related to my love and appreciation for the 'Barenboim Ring', recorded in 1991 (Das Rheingold & Gotterdammerung) and 1992 (Die Walkure & Siegfried). With me, things as big and complex as the 'Ring' have to take time to grow on me, and the Barenboim Ring has captivated me from the start. Why I especially love the 'Barenboim Ring' has much to do with the singing, but more about that a little later. First a word or two about maybe the greatest 'stars of the show' here: conductor and orchestra ...
ORCHESTRA AND CONDUCTOR. From what I have read, Daniel Barenboim seems to be becoming accepted among the ranks of the truly great Wagner conductors. It is of course also a matter of taste what approach one loves best in this music, but anyhow, aside from any 'accepted views', I have just always thought his Wagner the best. Just a matter of taste, indeed.
To me, maestro Barenboim makes the music sound approprately massive and stately, but at the same time does he somehow maintain (how truly special!) an orchestral sound that is somehow crisply articulated, fresh and transparent, but resplendent with saturated color. As a complete musical 'illiterate' (I can't read music) I don't have a grasp of the musical 'reasoning' that undoubtably must lie behind maestro Barenboim's approach, but to me it all 'feels' just right and in complete harmony. A grand but clear-headed vision. A Parthenon or a Pantheon in music. I don't know, but it may also have to do with the (custom built ;-) Bayreuther Festspielhaus' superbly appropriate acoustics, causing a kind of nicely rounded, resounding but polished sound.
Also, maestro Barenboim's tempi are generally exactly right for my own taste: never too fast (why do some people find his tempi too slow?) but always 'charged' with the right amount of dramatic tension. (But then again, I can't read music, so how would I know what would be the 'right' tempo? Oh, well ...) A clear-headed, but at the same time sweeping, grand vision of Wagner's music that does not revel in the music for its own sake, but above all things lets the music speak as a purely dramatic narrative to underline and focus on the drama that is going on on stage, with some of the most beautiful and at the same time dramatic singers I ever heard.
The orchestra must also, in a sense, be able to 'speak for itself' in this music, and indeed it does so here, as eloquently as one could ever wish, I believe, and sometimes so enthousiastically, that voices are slightly drowned out, even, by its sheer power in climaxes :-)
THE SINGERS. Often, emotions color my view of what I see and hear on certain moments. It's just how (and who) I am. And also, matters of personal taste come 'in the way'. I will not try to apologize for either ;-) But I will try to describe as clearly as I am able - however lacking and personally biased the end result may be - what I find so wonderful about this recorded performance of Der Ring des Nibelungen.
Well, most of the singers are to my ears simply the best for their parts, utterly convincing, and often very moving. All of the 'main characters' are singers that I like or indeed love. We have, among many others, the towering talents of the excellent actor-singer Graham Clark (Mime), the energetic and heroic Siegfried by Siegfried Jerusalem, the enormously expressive, deeply resounding, deeply emotional Wotan by John Tomlinson, and we have the beautifully humane and warmly sympathetic Brunnhilde by Anne Evans. I truly adore Anne Evans' sweet but intelligent Brunnhilde. Her singing is engagingly sympathetic and completely captivating. In climaxes her voice really soars (for example the 'immolation scene'), and she never sounds strained, but she is I think at her best especially when allowed to really show all her nuanced beauty and color during softer passages like Brunnhilde's 'duets' with Wotan or Siegmund (take for example "Siegmund! sieh auf mich!"). I am very fond of Siegfried Jerusalem's Siegfried, and singing together with Anne Evans' Brunnhilde in Act III of Siegfried and Act I of Gotterdammerung, they sound like the true 'dream-pair' to me, reaching - in 'threesome' with the orchestra - highest states of harmony and ecstacy. Also, the 'duets' of Wotan and Brunnhilde in Die Walkure are powerful, but at the same time deeply emotionally engaged. (Seeing them together on the DVD's certainly adds to the experience!) Furthermore, I very much enjoy Linda Finnie's full-voiced, bitingly aggressive Fricka (just great in her emotional confrontation with Wotan in Act II of Die Walkure) and Birgitta Svenden's resounding and melancholy Erda ...
AS A SIDE NOTE. Anyone who loves this specific audio-only version of Der Ring des Nibelungen, but has never before seen it (like I myself until recently), should also try the magnificent DVD's of these operas. I for one was truly enraptured, at last also being able to SEE all of the artists that I have come to love, singing (and acting) together within this flabbergastingly evocative stage design! The design is often quite bare, with completely dark background (indeed a feeling of a 'road into nowhere'), which causes, with this particular viewer at least, a sense of timelesness, puzzlement and even of mystery(!), which IMHO is quite appropriate for these larger-than-life operas, the abstractness of the design leaving a lot to your imagination and making them feel more timeless or 'pure', above and beyond any 'Zeitgeist', allowing the listener to focus more on their essential ideas and (inter-personal) emotions.
Talking about emotions, what an enormous 'bonus' to see for example John Tomlinson sing/act his part! His expressive acting does add even more depth to his already deeply moving, highly charged singing. Now that I am finally also able to see this 'Ring' on DVD, it really IMHO enhances the experience of listening to 'just' this audio-only version, which to me is also a 'complete and full' experience in itself, using a bit of imagination (but then again, how much imagination does one need with this great music, so gorgeously performed?), being able to visualize with the mind's eye the close interaction between Wotan, Brunnhilde, Siegfried, et al.
THE RECORDED SOUND. Just a few comments about the sound on these CD's to end this review. I think it is the best ever for this format (and for as far as I have ever heard). It really fills up the whole aural stage lengthwise and sideways! The effect is as if you were sitting front row seat, I guess. Every orchestral nuance and inflection is brilliantly and sumptuously captured and reproduced on CD.
The recorded sound has always been so deep, sonorous and full as to really at some moments take your breath away, especially in the way that the singers' voices are clearly defined (almost three-dimensionally) within the acoustic space (the depth of the Bayreuth stage is almost palpable). But have they maybe remastered it? It seems to me that the sound on this re-issue is even clearer and finer than the original 1993 Teldec issue, with the acoustics of the Bayreuth theatre almost palpable, enhancing the characteristicly sonorous sound of the Bayreuther Festspielorchester. It is as if orchestral textures are even more velvety and clear and finely balanced. The singers seem to be even more in focus as well. (This also means that we are able to hear a little bit more of the whispering of the prompter in Gotterdammerung, which for some could be a distraction, I can imagine.)
Also, I personally think that it is a blessing that this is a 'studio'-recording, so that the sense of mystery (and 'suspension of disbelief') is never broken by intruding audience noises. This I find especially necessary during the softer passages and intense dialogues between for example Brunnhilde & Siegmund and Wotan & Brunnhilde ...
All in all, a magnificent set, this 'Barenboim Ring' - truly a musical milestone - and truly indispensable (beside the likewise indispensible DVD's)! For better or worse, I have really fallen in love with this 'Ring', mostly for the gorgeous (exquisitely recorded) orchestral sound under Daniel Barenboim and the magnificent leading roles. And now, last but not least, you can have the whole 'Barenboim Ring' on 14 CD's (+ bonus DVD with highlights) for the price of no more than about 4!
(Postscriptum: the customer image I added is taken from the DVD of Siegfried, and not from the bonus DVD in this set.)
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Der Ring des Nibelungen / Karajan / Berlin Philharmonic
Dietrich Fischer-Dieskau , Richard Wagner , Jon Vickers , Thomas Stewart , Jess Thomas , Gundula Janowitz , Helga Dernesch , Regine Crespin , Helge Brilioth , Martti Talvela , Karl Ridderbusch , Herbert von Karajan , and Berlin Philharmonic Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD General
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ASIN: B000009CMV Release Date: 1998-07-14 |
Amazon.com essential recording
DG's 20-bit transfer reveals more tape hiss than before, while the orchestral image is better focused, with more definition at the bottom end. Some have likened Herbert von Karajan's "chamber-music approach" to Wagner's Ring cycle in terms of his scaling down or deconstructing the heroic roles. This approach has less to do with dynamics per se than it does with von Karajan's masterful balancing of voices and instruments. He achieves revelations of horizontal clarity, allowing no contrapuntal strand to emerge with an unwanted accent or a miscalibrated dynamic. The texts are unusually pinpointed and distinct, although the singers don't convey the experience and dimension of Sir Georg Solti's cast on London. There are exceptions. Jon Vickers's probing, complex Siegmund, for instance, is paired with Gundula Janowitz's radiant SIeglinde. Martti Talvela is arguably the most sympathetic, touching Fasolt on record, and Gerhard Stolz's Mime is less caricatured and more direct here than for Solti. I similarly prefer Christa Ludwig's Waltraute for von Karajan. The underrated Helge Brilioth's warmly ringing and musically solid Götterdämmerung Siegfried will be a welcome surprise. Smaller roles benefit from strong casting, notably the well-tuned Rheinmaidens and Valkyries. When all is said and done, however, it's von Karajan's show, and the glorious Berlin Philharmonic are the stars. --Jed DistlerCustomer Reviews:
Partial set.......2007-06-21
J.W.T.
"Wie durch Fluch er mir gerieth, verflucht sei dieser Ring!".......2007-05-15
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
One of the best versions of The Ring.......2007-04-15
Some have mentioned the importance of the instrumental work in the Ring series. Indeed, this is critical for any successful performance, given the long stretches of instrumental work (e.g., "Siegfried's Rhine Journey" in "Gotterdammerung"). And von Karajan conducts the entire series with style, intelligence, and musicality. Act I, Scene 2 of "Die Walkure" is one of the greatest moments in opera, And the Berlin Philharmonic with von Karajan at its helm plays this in a manner supporting the singers, consistent with the unfolding drama, and in with absolutely scintillating musicality. This segment represents one of the "greatest hits" in all of recorded opera.
The pluses of this version include the conductor and orchestra, of course. Also, the stable of singers is up to the task. Jon Vickers makes for a credible Siegmund and Gundula Janowitz handles Sieglinde's role well. Regine Crespin, in "Die Walkure," is adequate as Brunnhilde, but Helga Dernesch really "steps up to the plate" in the later operas. Siegfried is sung by two different tenors--Jess Thomas in "Siegfried" and Helge Brilioth in "Gotterdammerung." Wotan is well sung by the great Dietrich Fischer-Dieskau in "Das Rheingold" and by Thomas Stewart in "Die Walkure" and "Siegfried." The secondary players are strong as well.
The whole lives up to the hype surrounding this version. Again, this ranks as one of the premier recorded versions of the Ring cycle, with Solti's and Boulez' version (and one might also listen to Toscanini's 1941 recorded versions of Act I, Scene 2 of "Die Walkure" and two scenes in "Gotterdammerung," featuring Helen Traubel and Lauritz Melchior for some historical perspective). If one wishes to invest a fair chunk of cash in a recording of the full cycle, then this ranks as one of the best investments around.
This is Karajan's Ring, not Wagner's.......2006-11-12
Listening to this Ring is a seductive experience. The Berlin Phil are, without a doubt (and particularly under Karajan) the best sounding orchestra in the world. Additionally, Karajan's approach is generally very musically cogent. The 'chamber Ring' titles bandied about aren't without reason.
Upon opening the score, however, the gross inaccuracy of this Ring becomes immediately apparent. Karajan, either through his hubris-inspired need to be an auteur, or through his uncompromising pursuit of a beautiful sound, actively suppresses important lines on the page, ignoring the relevant dynamic markings. The Karajan Rheingold is the worst in this regard, with many important lines simply inaudible above what Karajan (not Wagner) deemed most important.
Allow me to qualify this: Wagner's score is extraordinarily complex, with often multiple layers assigned the same dynamic. I recognise that a conductor (well... a good conductor, anyway) will produce a hierarchy of importance for these. What Karajan has not understood, however, is that they are all STILL IMPORTANT. To suppress a line to the point of inaudibility grossly misrepresents Wagner's intent which, for the most part, is relatively clear.
Karajan's approach, particularly in the first two operas, is also a lot more recitative-like than most others. This works in some places, giving the voice absolute primacy over the music, but in others it interferes with the rhythmic flow Wagner has set up (Die Walkure, Act III Sc 1, and Das Rheingold Sc 1 come to mind here).
Ultimately, this is probably the 'shiniest' Ring on record, but for me that is simply not enough.
The Solti is, as many have pointed out, not always played so well (the intonation is shocking), but one always has the sense that he has understood Wagner much better than Karajan has. Furtwangler's RAI recording is masterfully interpreted (Das Rheingold sounds like a single, loooooong phrase - superb) but appallingly played. The Boulez is really quite remarkable. The singers are never fantastic, and the Chereau production downplays any heroism at all, but if you are looking for a 'chamber' Ring, this is the one. The forthcoming Adelaide Ring, conducted by Asher Fisch was truly breathtaking, and may become the definitive cycle of this era.
I like to alternate listenings of Boulez and Solti - somewhere in between lies the perfect Ring.
All in all, the best and most impressive Ring available.......2005-10-27
If we looked back into history and saw the relationship between Furtwangler and a certain K who was soon to take over the Berlin Philharmonic upon the aging conductor's death in 1954, we would find it quite hilarious that Wilhelm and K had a thick cloud of tension hovering in betweent them. Furtwangler loathed K with a passion, and he would never refer to him by name, using the phrase "that man K." Surely, there was something in this K that made the great Wagnerian Furtwangler feel threatened in the podium. And you know what? There was.
I think beyond any other Wagnerian conductor in history, Karajan made the greatest impression on the recordings and performances he conducted during his lifetime. Karajan knew the dynamics of a Wagnerian orchestra perfectly and used this to his advantage to create a cascading waterfall of some of the world's greatest music. His Tristan und Isolde, in my opinion, surpasses Furtwangler's recording in many aspects. His Meistersinger reigns supreme, his live Tannhauser is a revelation, his Parsifal truly is a mystical recording to behold, his Dutchman highly energizing, and most of all, his Ring, without a doubt, is the most beautiful and most moving trilogy I've ever heard.
It took me a great length of time upon which Ring I must herald as the greatest, because surely, Solti, Furtwangler, Krauss, Knappertsbusch, Bohm, and many others had a say on this epic. None of them though, except Furtwangler, could be placed beside Karajan in his great vision of what is considered to be the greatest work of art in the history of music. Many would praise the Solti Ring as a classic, and on this matter I would concede with the majority. He does create a great Ring, but I cannot agree entirely with his vision. The music doesn't flow like the way I think it should, and if you were to compare Karajan's work with Solti's, there is no parallel. Karajan's cast is just as seasoned as Solti's and in many ways surpasses them in interpretation. His brilliant choice of the youthful Crespin and the sexy, voluptuous-sounding Dernesch as his Brunnhildes creates a shifting portrayal of the woman and the warrior and the lover that is our favorite Valkyrie, and both singers display more emotion than Birgit Nilsson does. Jess Thomas suits the young, brash Siegfried, while Helge Brilioth recreates a mature, more insightful hero in the Gotterdammerung Siegfried. Dieskau is a marvel as Wotan, in the rank of London, while the highly underrated Stewart, in my opinion, is musically and interpretively, the equal of Hotter. Gundula Janowitz is a marvel as Sieglinde, the greatest I've ever heard, and Jon Vickers is the most touching Siegmund on record. Christa Ludwig gives an even better portrayal of Waltraute (and her second Norn is amazing!) than in Solti's recording. Gerhard Stolze gives a greater interpretation of the Mime, and Karl Ridderbusch and Zoltan Kelemen make their bass roles extremely believable. The minor roles of the Valkyries and the Rhine Maidens all receive amazing singers. It is indeed a great cast, and in many ways surpasses that of Solti's use of veteran singers past their prime. In my opinion, Karajan's cast gives a most human and moving portrayal.
Many would disagree with me in agreeing with Herbert's vision for this grand opera. I think that for theater to exist, the music must come first to create that certain atmosphere which makes the element come to life. Solti may have some of the best singers, but his tempo lacks the fluidity of Karajan. He has a great recording in his hands, but then I would prefer Karajan for the atmosphere he creates. So they say that Karajan lacks a sense of theater and goes only for the surface beauty of the work. He does create a Ring brimming with surface beauty, but if you listen to his music attentively, you will find that within each bar, each orchestral nuance, there is a deeper philosophical meaning that Wagner intended to bring out of the great Teutonic legend, and I think Karajan achieved that vision.
If I were to choose only one Ring, I would buy this, and thankfully I have it. If I were to look for another Ring though, I would not go to Solti. The silver medal would go to the La Scala Ring so marvelously conducted by Furtwangler with Kirsten Flagstad as Brunnhilde. Surely, the great Wagnerian in all his jealousy and rage saw something in K, and I'm glad I saw it too.
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Wagner: Der Ring des Nibelungen (1982 Orchestral Excerpts)
Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wagner
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ASIN: B0000041OS Release Date: 1990-10-25 |
Tracks:
- Der Ring des Nibelungen - Orchestral Excerpts: The Ride Of The Valkyries (Die Walkure)
- Der Ring des Nibelungen - Orchestral Excerpts: Entry Of The Gods Into Valhalla (Das Rheingold)
- Der Ring des Nibelungen - Orchestral Excerpts: Wotan's Farewell And Magic Fire Music (Die Walkure)
- Der Ring des Nibelungen - Orchestral Excerpts: Forest Murmers (Siegfried)
- Der Ring des Nibelungen - Orchestral Excerpts: Siegfried's Funeral March (Gotterdammerung)
- Der Ring des Nibelungen - Orchestral Excerpts: 'Immolation Of The Gods' (Gotterdammerung)
Customer Reviews:
The Best Orchestral Ring Of the Nibelung.......2006-03-14
Where's the rest of the music?.......2002-10-25
An exciting CD but . . . ........2001-09-24
Your best bet if you want this music is the George Szell, Cleveland Orchestra CD of Wagner Orchestral Music on Sony. It virtually duplicates the six Ring excerpts on the Solti disc, and adds two more substantial excerpts (from non-Ring Wagner operas Die Meistersinger and Tristan und Isolde) for almost 77 minutes of music. Although the sound is not as good as that on the Solti disc, the performances are superb, as fine as any in the catalog (the level of the playing and precision of ensemble are certainly superior to the Solti disc; no clinkers here!), and the CD is budget priced. Talk about a good deal!
spectacular.......1999-09-12
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Wagner, Der Ring des Nibelungen (Wilhelm Furtwangler, Italian Radio 1953, EMI)
Martha Modl , Ludwig Suthaus , Wolfgang Windgassen , Ferdinand Frantz , Gustav Neidlinger , Sena Jurinac , and Radio Symphony Chorus Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wagner
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ASIN: B000002SBI Release Date: 1990-10-15 |
Tracks:
- Der Ring Des Nibelungen: Das Rheingold: Prelude
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Weia! Waga!
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Hehe! ihr Nicker!
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Garstig glatter glitsch'riger Glimmer!
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Lugt, Schwestern!
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Was ist's, ihr Glatten
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Der Welt Erbe
- Der Ring Des Nibelungen: Das Rheingold: Scene One - Bangt euch noch nicht? (Alberich)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Wotan, Gemahl! erwache!
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Um des Gatten Treue besorgt (Fricka - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - So schirme sie jetzt (Fricka - Freia - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Sanft schloB Schlaf dein Aug (Fasolt - Wotan - Fafner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Lichtsohn du, leicht gefugter (Fasolt - Wotan - Fafner - Freia)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Zu mir, Freia! (Donner - Fafner - Fasolt - Freia - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Endlich Loge! (Wotan - Loge - Fricka - Donner - Fafner - Fasolt)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Immer ist Undank Loges Lohn! (Loge)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Nur einen sah' ich (Loge - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Nicht gonn' ich das Gold dem Alben (Fasolt - Fafner - Loge - Wotan - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Des Reifes zu walten (Wotan - Loge - Donner - Fricka - Fafner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Hor', Wotan, der Harrenden Wort! (Fafner - Wotan - Fasolt - Freia - Donner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Uber Stock und Stein zu Tal (Loge - Fricka - Donner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Jetzt fand ich's (Loge - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Two - Auf, Loge! hinab mit mir! (Wotan - Loge - Donner - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Hehe! hehe! (Alberich - Mime)
Tracks:
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Schau, du Schelm! (Alberich - Mime)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Nibelheim hier (Loge - Mime - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Nehmt euch in acht! (Mime - Wotan - Alberich)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Was wollt ihr hier?
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Die in linder Lufte Wehn (Alberich - Wotan - Loge)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Wen doch faBte nicht Wunder (Loge - Alberich)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Riesenwurm winde sich ringelnd! (Alberich - Loge - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Three - Nun schnell hinauf (Loge)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Da, Vetter, sitze du fest! (Loge - Alberich - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Wohlan, die Niblungen rief ich mir nah' (Alberich - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Gezahlt hab' ich
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Bin ich nun frei? (Alberich - Loge - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Fasolt und Fafner nahen von fern (Loge - Donner - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Halt! Nicht sie beruhrt! (Fasolt - Wotan - Fafner - Loge)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Nicht so leicht und locker gefugt! (Fafner - Loge - Wotan - Fricka - Donner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Freia, die Schone (Fasolt - Loge - Fafner - Wotan - Freia - Fricka - Donner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Weiche, Wotan! (Wotan - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Hort, ihr Riesen! (Donner - Freia)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Halt, du Gieriger! (Fasolt - Fafner - Loge - Wotan)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Was gleicht, Wotan (Loge - Wotan - Fricka)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Schwules Gedunst schwebt in der Luft (Donner)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Zur Burg fuhrt die Brucke
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Ihrem Ende eilen sie zu (Loge)
- Der Ring Des Nibelungen: Das Rheingold: Scene Four - Rheingold! Rheingold! (Wotan - Loge)
Tracks:
- Der Ring des Nibelungen: Die Walkure: Prelude
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Was Herd dies auch sei
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Dies Haus und dies Weib
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Einen Unseligen labtest du
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Mud am Herd fand ich den Mann
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Durch Wald und Wiese
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Friedmund darf ich nicht heiBen
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Ein starkes Jagen auf uns
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Die so leidig Los dir bescheid
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Ich weiss ein wildes Geschlecht
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Ein Schwert verhieB mir der Vater
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Schlafst du, Gast?
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Der Manner Sippe saB hier im Saal
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Dich selige Frau
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Wintersturme wichen dem Wonnemond
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Du bist der Lenz
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: O suBeste Wonne! Seligstes Weib!
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Im Bach erblickt' ich
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Siegmund heiB' ich und Siegmund bin ich!
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Siegmund, den Walsung
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Prelude; Nun zaume dein Ross, reisige Maid!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Hojotoho! Hojotoho!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: DEr alte Sturm, die alte Muh!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Wie toricht und taub du dich stellst
Tracks:
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Heut- Hast du's erlebt
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: So ist es denn aus mit den eiwigen Gottern
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Nichts lerntest du
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Was verlangst du?
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Heiaha! Heiaha! Hojotoho!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Schlimm,furcht' ich, schloB der Streit
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Als junger Liebe Lust mir verbich
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Von dem Ende wollt' ich
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Ein andres ist's; achte es wohl
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Nur einer konnte
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Doch der Walsung, Siegmund den
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: So nimst du von Siegmund den Sieg?
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: So nimm meinen Segen, Niblungen-Sohn!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Weh! Nimm reuig zuruck das Wort!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: So sah ich Siegvater nie
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: Raste nun hier, gonne dir Ruh!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: Hinweg! Hinweg! Flieh die Entweihte!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: Wo bist du, Siegmund?
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: Siegmund! Sieh auf mich!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: Der dir nun folgt
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: So gruBe mir Walhall
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: Weh! Weh! SuBestes Weib
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: Zwei Leben lachen dir heir
- Act Two - Scene Five: Zauberfest bezahmt ein Schlaf
Tracks:
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Five: Der dort mich ruft
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Five: Wehwalt! Wehwalt!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: The Ride Of The Valkyries; Hojotoho! Hojotoho!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: Schuzt mich und helft in hochster Not!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: Hort mich in Eile
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: Nicht sehre dich Sorge um mich
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: Fort den eile
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene One: O herstes Wunder!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Two: Wo ist Brunnhild', wo die Verbrecherin?
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Two: Weichherziges Weibergezucht!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Two: Hier bin ich, Vater; gebiete die Strafe!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Two: Nich send' ich dich mehr aus Walhall
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Two: Hortet ihr nicht, was ich verhangt?
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: War es so schmahlich
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Nicht weise bin ich
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Der diese Liebe mir ins Herz gelegt
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Deinen leichten Sunn laB dich denn leiten
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Wohl taugte dir nicht
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Du zeugtest ein edles Geschlecht
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: In festen Schlaf
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Leb wohl, du kuhnes, herrliches Kind!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Der Augen leuchtendes Paar
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Loge, hor! Lausche hieher!
- Der Ring des Nibelungen: Die Walkure: Act Three - Scene Three: Magic Fire Music
Tracks:
- Der Ring Des Nibelungen: Siegfried: Prelude
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Zwangvolle Plage!
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Faner, der wilde Wurm (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Hoiho! Hoiho!
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: DA hast du die Stucken (Siegfried - Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Als zullendes Kind (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Vieles lehrtest du, Mime (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Mein Kind, das lehrt dich kennen
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Wo hast du nun, Mime
- Der Ring Des Nibelungen: Siegfried: Act One -Scene One: Das lugst du, garstiger Gauch!
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: So MuB ich dich fassen (Mime - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Einst lag wimmernd ein Weib (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: So starb meine Mutter an mir?
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Das gab mir deine Mutter (Siegfried - Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene One: Da sturmt er hin! (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Heil dir, weiser Schmied!
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Viel erforscht' ich
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Hier sitz ich am Herd
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Du ruhrtest dich viel auf der Erde
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Viel, Wanderer
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Fragen und Haupt hast du gelost
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Nun, ehrlicher Zwerg (Wanderer - Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Die Stucken! Das Schwert! (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Two: Dreimal soltest du fragen (Wanderer)
Tracks:
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Verfluchtes Licht! (Mime)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Heda, du Fauler! (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Bist du es, Kind?
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Wo nahm' ich redlichen Rat?
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Fuhltest du nie im finstren Wald
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Niedhohle wird es genannt
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Her mit den Stucken
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Hier hilft kein Kluger (Mime - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Notung! Notung! (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Er schmiedet das Schwert
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Hoho! Hoho! Hohei! (Forging Song)
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Er schafft sich ein scharfes Schwert
- Der Ring Des Nibelungen: Siegfried: Act One - Scene Three: Den der Bruder schuf (Mime - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two: Prelude
- Alois Pernerstorfer (Alberich): Act Two - Scene One: Im Wald und Nacht (Alberich)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene One: Zur Neidhohle fuhr ich bei Nacht
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene One: Wie stolz du draust
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene One: Mit mir nicht, hadre mit Mime (Wanderer - Alberich)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene One: Wer stort mir den Schlaf? (Fafner - Wanderer - Alberich)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene One: Nun, Alberich, das schlug fehl (Wanderer - Alberich)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Wir sind zur Stelle!
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Gut ist's, den Schlund ihm zu schlieBen
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Du sollst mich nicht lieben! (Mime - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: DaB der mein Vater nicht ist - Forest Murmurs (Siegfried)
Tracks:
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Aber - wie sah meine Mutter wohl aus?
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Du holdes Voglein!
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Das tont nicht recht (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Haha! Da hatte mein Lied
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Da lieg', neidischer Kerl (Siegfried - Fafner)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Zur Kunde taugt kein Toter (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Two: Hei! Siegried gehort nun (Waldvogel - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Wohin schleichst du
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Wer schuf den Tarnhelm
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Behalt ihn denn (Alberich - Mime)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Was ihr mir nutzt (Siegfried - Waldvogel)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Willkommen, Siegfried
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: DaB du mich hassest
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: So willst du mein Schwert
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Im Schlafe willst du mich morden? (Mime - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Da lieg auch du, dunkler Wurm!
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Noch einmal, liebes Voglein (Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Two - Scene Three: Hei! Siegfried erschlug nun (Waldvogel - Siegfried)
- Der Ring Des Nibelungen: Siegfried: Act Three - Prelude
- Der Ring Des Nibelungen: Siegfried: Act Three - Scene One: Wache, Wala! (Wanderer)
- Der Ring Des Nibelungen: Siegfried: Act Three - Scene One: Ask The Norns As They Weave The Rope Of Destiny
- Der Ring Des Nibelungen: Siegfried: Act Three - Scene One: Brunnhilde Is Being Punished For Her Disobedience
- Der Ring Des Nibelungen: Siegfried: Act Three - Scene One: Erda Wishes To Return To Her Sleep
- Der Ring Des Nibelungen: Siegfried: Act Three - Scene One: Alberich's Evil Ambitions
Tracks:
- Der Ring Des Nibelungen: Siegfried: The Wanderer Hails Siegfried
- Der Ring Des Nibelungen: Siegfried: Siegfried Tells Him How He Killed The Dragon
- Der Ring Des Nibelungen: Siegfried: When The Wanderer Laughs
- Der Ring Des Nibelungen: Siegfried: Siegfried Looks More Closely At Him
- Der Ring Des Nibelungen: Siegfried: The Wanderer Replies Enigmatically
- Der Ring Des Nibelungen: Siegfried: The Wanderer Finally Blocks His Path
- Der Ring Des Nibelungen: Siegfried: The Wanderer Vanishes
- Der Ring Des Nibelungen: Siegfried: Siegfried Plunges Into The Flames
- Der Ring Des Nibelungen: Siegfried: Brunnhilde Under The Trees
- Der Ring Des Nibelungen: Siegfried: He Realizes That It Is A Woman
- Der Ring Des Nibelungen: Siegfried: He Kisses Her On The Lips
- Der Ring Des Nibelungen: Siegfried: She Opens Her Eyes
- Der Ring Des Nibelungen: Siegfried: They Both Bless The Mother
- Der Ring Des Nibelungen: Siegfried: Siegfried Wonders If She Is In Fact His Mother
- Der Ring Des Nibelungen: Siegfried: Siegfried Is Confused
- Der Ring Des Nibelungen: Siegfried: Brunnhilde Looks Around Her
- Der Ring Des Nibelungen: Siegfried: Siegfried Embraces Her Passionately
- Der Ring Des Nibelungen: Siegfried: She Pushes Him Away In Terror
- Der Ring Des Nibelungen: Siegfried: She Looks Fondly At Siegfried
- Der Ring Des Nibelungen: Siegfried: She Is Won Over
- Der Ring Des Nibelungen: Siegfried: Siegfried's Passion
- Der Ring Des Nibelungen: Siegfried: Her New Mortal Status
- Der Ring Des Nibelungen: Siegfried: They Embrace In Ecstasy
- Der Ring Des Nibelungen: Siegfried: They Invoke 'Laughing Death'
Tracks:
- Der Ring des Nibelungen: Die Walkure: Prologue: Prelude - Welch Licht leuchtet dort?
- Der Ring des Nibelungen: Die Walkure: Prologue: Treu beratner Vertage Runen (Zweite Norn)
- Der Ring des Nibelungen: Die Walkure: Prologue: Es ragt die Burg
- Der Ring des Nibelungen: Die Walkure: Prologue: Des zerschlagnen Speeres
- Der Ring des Nibelungen: Die Walkure: Prologue: Dawn Of Day - Zu neuen Taten
- Der Ring des Nibelungen: Die Walkure: Prologue: Willst du mir Minne schenken
- Der Ring des Nibelungen: Die Walkure: Prologue: LaB ich, Liebste
- Der Ring des Nibelungen: Die Walkure: Prologue: Durch deine Tugend allein
- Der Ring des Nibelungen: Die Walkure: Prologue: O heilige Gotter (Brunnhilde - Siegfried)
- Der Ring des Nibelungen: Die Walkure: Prologue: Siegfried's Rhine Journey
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Nun hor, Hagen (Gunther - Hagen)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Wen ratst du nun zu frein (Gunther - Hagen - Gutrune)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Vor Neidhohle den Niblungenhort (Hagen - Gunther)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Du Spotter, boser Hagen (Gutrune - Hagen - Gunther)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene One: Jagt er auf Taten wonnig umher (Hagen - Gunther - Siegfried)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Wer ist Gibichs Sohn?
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: BegruBe froh, o Held
- Der Ring des Nibelungen: Die Walkure: Act 2, Scene 3: Wo bist du, Siegmund? (Hagen - Siegfried - Gunther)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Des Schatzes vergaB ich fast (Gutrune - Siegfried - Gunther)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Deinem Bruder bot ich mich zum Mann
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Ich furchte kein Feuer (Siegfried - Gunther)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Bluhenden Lebens labendes Blut (Siegfried - Gunther - Hagen)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Frisch auf die Fahrt! (Siegfried - Gunther - Hagen - Gutrune)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Two: Hier sitz' ich zur Wacht (Hagen)
Tracks:
- Der Ring des Nibelungen: Die Walkure: Act One - Orchestral Interlude
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Kommst du zu mir?
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Angst und Furcht fessein dich Arme? (Brunnhilde - Waltraute)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Hore mit Sinn, was ich sage!
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three - So sitzt er (Waltraute)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Welch banger Traume Maren (Brunnhilde)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: An deiner Hand, der Ring
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Geh' hin zu der Gotter
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Blitzend Gewolk (Waltraute - Brunnhilde)
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Brunnhild'! Ein Freier kam
- Der Ring des Nibelungen: Die Walkure: Act One - Scene Three: Die Nacht bricht an (Siegfried - Brunnhilde)
- Der Ring des Nibelungen: Die Walkure: Act Two - Prelude
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Schlafst du, Hagen, mein Sohn?
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Der Ewigen Macht
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene One: Den Ring soll ich haben (Alberich - Hagen)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Hoiho, Hagen! (Siegfried - Hagen)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: HeiB' mich willkommen
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: Doch zur Seite war ihm Brunnhild'? (Siegfried - Gutrune)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Two: In der Ferne seh' ich ein Segel (Hagen - Siegfried - Gutrune)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: Hoiho! Hoihohoho!
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: Rustet euch wohl
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Three: GroB Gluck und Heil (Hagen)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: Heil dir, Gunther! (Gunther)
- Der Ring des Nibelungen: Die Walkure: Act Two - Scene Four: GegruBt sei, teurer Held (Gunther - Siegfried - Brunnhilde - Hagen)
Tracks:
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Einen Ring sah ich an deiner Hand (Brunnhilde - Siegfried - Gunther)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Ha! Dieser war es (Brunnhilde - Siegfried - Hagen - Gutrune)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Heil'ge Gotter (Brunnhilde - Gunther)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Achtest du so der eig'nen Ehre? (Siegfried - Brunnhilde - Gunther - Gutrune - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Helle Wehr! (Siegfried - Brunnhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Four: Gunther, wehr deinem Weibe (Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: Welches Unholds List (Brunnhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: Vertraue Mir (Hagen - Brunnhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: So kann kiene Wehr ihm schaden? (Hagen - Brunnhilde - Gunther)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: Betruger ich - und betrogen! (Gunther - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: Dich verriet er
- Der Ring des Nibelungen: Gotterdammerung: Act Two - Scene Five: Mub sein Tod sie betruben (Brunnhilde - Hagen - Gunther)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Prelude
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Frau Sonne sendet lichte Strahalen
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Frau Sonne, sende uns den Helden (Woglinde - Wellgunde - FloBhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Ein Albe fuhrte mich irr
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Siegfried, was gibst du uns
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Wie lied ich doch
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Siegfried! Schlimmes wissen wir dir
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Siegfried! Wir weisen dich wahr (Siegfried - FloBhilde - Wellgunde - Woglinde)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Kommt , Schwestern! (FloBhilde - Woglinde - Wellgunde)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene One: Weilalala leia ... Im Wasser wie am Lande (FloBhilde - Woglinde - Wellgunde - Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Hoiho! (Hagen - Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Der uns das Wild verscheuchte (Hagen - Siegfried - Gunther)
Tracks:
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Trink', Gunther, Trink'! (Siegfried - Gunther - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Mime heib ein murrischer Zwerg
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Jetzt aber merkt (Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Ring und Tarnhelm (Hagen - Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: In Leid zu dem Wipfel (Siegfried - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Rasch ohne Zogern (Siegfried - Gunther - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Brunnhilde, heilige Braut! (Siegfried)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Two: Funeral music
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: War das sein Horn? (Gutrune)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Brunnhild'! Brunnhild'! (Gutrune - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Auf Gutrun'! (Hagen - Gutrune - Gunther)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Nicht klage wider mich! (Gunther - Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Schweigt eures Jammers
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Armselige, schweig! (Brunnhilde - Gutrune)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Starke Scheite schichtet mir dort (Brunnhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Wie Sonne lauter
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: O ihr, der Eide Heilge Huter!
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Mein Erbe nun
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Flieght heim, ihr Raben!
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Grane, mein Rob (Brunnhilde)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Fire Music; Zuruck vom Ring! (Hagen)
- Der Ring des Nibelungen: Gotterdammerung: Act Three - Scene Three: Schlub - Conclusion
Amazon.com essential recording
Furtwängler's 1953 Ring cycle, recorded "live" in the RAI (Radiotelevisione Italiana) studios, one act at a time, for broadcast purposes, is remastered here from the original tapes, in contrast to vinyl pressings used for the original 1972 EMI LP release. The noted Wagnerian scholar Deryck Cooke best characterized the great conductor's view of this magnum opus as a "stark, heavy, brooding work, a profound tragedy set in a primitive world of ancient Teutonic gods and heroes, to whom every action and event is of the utmost existential importance." Not even the boxy sonics or less-than-world-class RAI wind and brass sections diminish the impact of Furtwängler's gripping leadership. Even when tempos appear unusually slow, the conductor's rhythmic underpinning and sixth sense for sustaining long lines keep the dramatic intensity afloat. While Furtwängler's livelier 1950 La Scala Ring boasts better orchestral playing, his RAI Ring is more consistently cast. Standouts include Windgassen's expansive Siegmund, Mödl's attentive Brünnhilde, Patzak's truly sung (as opposed to cackled) Mime, Suthaus's virile Siegfried, Jurinac's ruby-tinged Gutrune, and Greindl's best-vocalized Hagen extant. A banded synopsis is included in lieu of texts. --Jed DistlerCustomer Reviews:
Greatest Ring Ever - But Consider the Gebhardt Release Instead of the EMI.......2007-02-04
If you already own the EMI version you'll appreciate the difference. EMI's sound is smoother, with less hiss, but dull and flat - all a result of their filtering. Gebhardt's sound is more raw, but far more realistic and alive. Furtwangler was the greatest interpreter of the Ring and this performance, even more than the 1950 La Scala Ring (which has also been remastered by Gebhardt), is his greatest on records.
A Ring for the Ages.......2006-03-11
This Furtwangler/EMI just arrived today.......2006-02-19
I have Keilberth's 1952/Archipel, Keilberth's 1953/Andromeda and had at one time the Krauss 1953/Gala release, btw the Krauss I see has been just re-issued. I no longer own the Krauss, it was a damaged set I bought, and gave it away, I have no desire to re-purchase it.
You can find a few comments I made on the 2 Keilberth recordings here on amazon. Both of which refer you to this recording, as my final comments on these 3 Ring recordings.
How I came across the Keilberth 52, then the 53, is a long story, but luckily I choose both over the dozens of other highly recommended recordings.
No one mentions the 2 Keilberth, and there is good reason why that puzzling situation is so. Very few folks have even heard the recordings, yet these same "experts" make bold and daring comments on all the other avaliable Rings, you know "The Popular Ones" (hyped-over)
Now to return to this Furtwangler recording.
I wish to make a few comments on the many reviews given here.
Brown/Dec/02: On his preference for mono over stereo, I also agree. Always I have prefered Mozart's operas in mono, the 50's/Furtwangler, Bohm over modern stereo. Mono gives one a feeling of integrity and wholemess, as if the music and casting are all spun from a single fabric. I do not wish for clear high toned sound, but prefer the 360 degree image that mono provides.
Though obviously poor mono sound like the 53 Krauss is totally unacceptable.
Brown also correctly points out that this Furtwangler RIA/Italian orch is in fact not an inferior orch as some would have us believe. This RAI orch is on equal/surpassing at times the Keilberth 52 and even the ever-so- slightly better 1953/Keilberth Bayreuth.
IOW this is a fabulous orch...and agin as I'm listeng its possible I prefer this to both Keilberth's....Furtwangler is for me genius here and in Mozart's operas.
Adidaire/June/2000: "you actually hear phrases and sounds that other recordings fail to bring out" Correct. Furtwangler's genius comes alive.
Alexksander/June 20/05: makes mention that though there is no libretto, one can be purchased online. I suggest you go to Able Used Books and look up Andrew Porter/english translation of the Ring.
He also mentions that this mono is not satisfying, abit "dry". As I mentioned above I prefer mono much more over stereo in opera, and this mono is on par with both Keilberth, and far surpasses the Krauss 53/muddy sound there. The old mono recordings in opera give one a image of a 'complete" world, a rotundrum as Jung uses the idea. A mythical, mysrery sense enters in, as orch and voices blend close together.
Queen Margo: "Krauss is my second choice". Well not for me, and you'll have to make up your own opinion if you care to. Though the Krauss is acclaimed by many as "simply and clearly the finest EVER", You'll just have to go and buy the newly re-released Krauss and decide for yourself. I',m not going to get in any argument with the die-hard Krauss fans (diehard , meaning they refuse to even consider the 2 Keilberth(at least Todd has heard the 52, but not the 53, and doubtful he has heard this Furtwangler), and Gramophone places the Krauss as "possible the finest". You will have to hear the 4 and make up your own mind.
Obviously the Queen has not heard either Keilberth.
Hadijimins/Feb 22/05: I agree with him that digital "remastering" of old classics can take the life out of a recording, as he correctly points out, "the depth is gone...flat". This is so true,a s remastering "Filters out the impurities" but in so doing filters out that sparkle of "life".
He goes on to mention this EMI recording " instruments lack natural timbre"
True it is abit flat, but I suggest you try a tube amp, which does help in cases like this.
A Music Fan/Feb8/05: "In short this Furtwangler Ring lives due to its highly dramatic character...and isn't this what music is all about?" Nicely said, Furtwangler breathes life into Wagner's masterpiece. If you've heard Rings that caused you to lose interest in the "dull parts", not here, Furtwangler makes the Ring come alive throughout.
I guess you would wish I go into more details in comparison between the Keilberth July/1953/ANdromeda and this Furtwangler/EMI/Oct-Nov/1953...how about that, both from the very same year, the Keilberth live and Furtwangler's studio.
That is quite a surprise, as I always prefer live vs studio, if given the choice...
I will not go further in details between the 2, thus bringing my comments to a place that I would seem to prefer one over the other.
All I will say is that the Furtwangler/1953/EMI and Keilberth/1953/Andromeda are in my opinion, the 2 finest Rings on record.
Now I am aware that statement does not go over very well with the devoted fans of other Ring recordings, so you will have to make your own research and thus search and discovery for a superior Der Ring Des Nibelungen.
feel free to contact me for questions, if I can be of help.
EDIT:
I see in the notes the mention that this was a "Live" recording, IOW it was live as far as a audience was there at the recording, but not in the sense as a full stage production.
So it would seem my belief that live is prefered over studio.
In this case the casting was allowed to have movement on stage, and not as are PURE studio recordings where the cast just stands in front of a mic, here we have real action, which brings in that live feel. w/o all the coughing and audience noise.
Also would like to add, tgough I'm sure every other Ring besides the 2 I mention, all have their merits, some stronger than others.
However in these 2 recordings we witness the "most consistent" in craftmanship. "most consistent" is not an appropriate qualitative term for these 2 productions.
If I may be allowed to use a word that fans of other recordings may gasp in horror, definitive(I did not say perfect) would be my final word on these 2 1953 recordings.
You ask: How can everyone be right at the same time/as the fans of Bohm, Solti,Krauss,Knappertsbusch, EVEN! Levine all claim "this is one of the best/absolute" etc with high praises.
Well if you can afford it then try their suggestions. But like most of us, its not easy to budget in a set that runs anywhere from $100-$250(KNA's/Melodram)
It will not be an easy decision for you, as it was not for me.
But I feel my diligent and timely research has been very very rewarding.
Oh btw, go read the 30+ reviews on the Karajan set.
Notice something, not one of the 30 make mention of either Keilberth and maybe 1 or 2 make slight mention of Furtwangler.
Doesn't that raise a red flag?
Does for me, when folks go spouting off high praises w/o considering other sets.
Hype in ignore-ance.
Besides ck out any review, Solti, Bohm, Levine etc etc, especially the Krauss/53 and see if anyone mentions the Furtwangler and Keilberth's.
Doubtful. Which is always the case.
99% of my cd collection was built by my hard work in research, might take me 1 to 20 hours of work before i decide which recording i'll take a chance on...
btw you can read more comments on this finest of all Rings, on the Gramophone discussion forum, go to Recent Purchases topic, then look scroll down to the recent post of Furtwangler's 1953 Ring.
As we know Wagner was the first modern composer, with his sonorities so beautiffuly expressed in his 3 best operas, The Ring, Parsifal, Tristan. His other operas are stuck in a rigid classical period, so not to my taste.
Wagner's inspiration came first from the folklore of his land, next most importance was Mozart, third Beethoven.
A clear first choice.......2005-06-20
The cast of this great recording is also fantastic. Martha Modl and Ferdinand Frantz lead the cast as Brunnhilde and Wotan respectivly. Modl is fantastic throughout. She has the nobility and passion needed to make this character work well. She can't match Nilsson's high notes but she has a much warmer voice than Birgit Nilsson. Frantz is totally great as the troubled Wotan. This very complex character is expertly sung by the great bass-baritone. There are very few who can match his commitment, characterization and nobility and he thoroughly convincing in the role of the chief of the gods.
Ludwig Suthaus is Siegfried. He too is totally great. He makes the opera Siegfried a joy to listen to in addition to the great conducting. This is almost an impossible role to do successfully with all the energy that is required at all times in addition to the extremely taxing duet at the end. Also in Gotterdammerung he is totally great.
Wolfgang Windgassen is Siegmund and Loge. He is often heard as Siegfried so it is a rarity to hear his Siegmund. From what I understand there are only two complete Walkure recordings with him as Siegmund, this one and the Knappertsbusch Ring from Bayreuth 1956. He is perhaps better as the young Siegfried but he does a great job with Siegmund, heroic and tender in his scenes with Sieglinde. His Loge too is excellent. Hilde Konetzni is Sieglinde and she too is great as the sweet character. She depicts the her passion and plight perfectly, much better than her work four years earlier on the Moralt Ring. Gottlob Frick is Hunding and Fafner in Rheingold, and Josef Greindl is Hagen, Fafner in Siegfried and Fasolt in Rheingold, and both are really exeptional. Julius Patzak is a really treasure as Mime. Gustav Neidlinger is at his best as Alberich in Rheingold. Alois Pernerstorfer is Alberich in Siegfried and Gotterdammerung, and he isn't as good as Neidlinger (who is?) but still quite excellent.
We also have a very strong cast in the minor roles, such as Margarete Klose as Waltraute in Gotterdammerung, Elisabeth Grummer as Freia, Ira Malaniuk as Fricka in Rheingold, Elsa Cavelti as Fricka in Walkure, Sena Jurinac as Gutrune and Rita Streich as the Woodbird.
So if this one would have a better documentation it would be a very clear first recommendation. The librettos of the operas are available to buy at quite a low cost. The only snag is that this performance is in mono and the sound is a little dry sometimes, but this is a minor problem. On the whole is the sound good and it represents a rare opportunity to hear perhaps the greatest master of this gigantic work in top form with some really exceptional artists. So to close I have to say that I highly recommend this recording as a first buy of this ever-facinating work.
Furtwangler's Masterpiece.......2005-03-30
But Solti would be on the bottom of my list, ranking only higher than Boulez and Levine. I appreciate the booklets and packaging in Solti's Ring and, surely, there are many fine moments, but not enough to sustain the level of excitement and attention all the way through.
So my recommendation to those who can only afford one Ring is: listen to them all before you make your choice! You may like one that no one else does. Don't get swayed by those "in the know" because they probably have several sets and can afford to keep their Solti on the shelf.
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ASIN: B00011MJV6 Release Date: 2004-08-10 |
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- Nibelheim Hier - Karl-Heinz Stryczek
Tracks:
- Wer Helfe Mir? - Karl-Heinz Stryczek
- Nehmt Euch In Acht! Alberich Naht - Karl-Heinz Stryczek
- Was Wollt Ihr Hier? - Karl-Heinz Stryczek
- Die In Linder Lufte Wehn Da Oben Ihr Lebt - Karl-Heinz Stryczek
- Wen Doch Fasste Nicht Wunder - Karl-Heinz Stryczek
- Riesen-Wurm Winde Sich Ringelnd! - Karl-Heinz Stryczek
- Nun Schnell Hinauf: Dort Is Er Unser - Karl-Heinz Stryczek
- Da, Vetter, Sitze Du Fest! - Karl-Heinz Stryczek
- Wohlan, Die Nibelungen Rief Ich Mir Nah - Karl-Heinz Stryczek
- Gezahlt Hab Ich; Nun Lasst Mich Ziehn! - Karl-Heinz Stryczek
- Bin Ich Nun Frei? - Karl-Heinz Stryczek
- Fasolt Und Fafner Nahen Von Fern - Karl-Heinz Stryczek
- Halt! Nicht Sie Beruhrt! - Karl-Heinz Stryczek
- Nicht so Leicht Und Locker Gefugt! - Karl-Heinz Stryczek
- Freia, Die Schone, Schau' Ich Nicht Mehr - Karl-Heinz Stryczek
- Weiche, Wotan, Weiche! - Karl-Heinz Stryczek
- Hort, Ihr Riesen! - Karl-Heinz Stryczek
- Halt, Du Gieriger! Gonne Mir Auch Was! - Karl-Heinz Stryczek
- Was Gleicht, Wotan, Wohl Deinem Glucke? - Karl-Heinz Stryczek
- Schwules Gedunst Schwebt In Der Luft - Karl-Heinz Stryczek
- Zur Burg Fuhrt Die Brucke - Karl-Heinz Stryczek
- Ihrem Ende Eilen Sie Zu - Karl-Heinz Stryczek
- Rheingold! Rheingold! Reines Gold! - Karl-Heinz Stryczek
Tracks:
- Prelude - Siegfried Jerusalem
- Wes Herd Dies Auch Sei, Hier Muss Ich Rasten - Siegfried Jerusalem
- Mild Am Herd Fand Ich Den Mann - Siegfried Jerusalem
- Friedmund Darf Ich Nicht Heissen - Siegfried Jerusalem
- Ich Weiss Ein Wildes Geschlecht - Siegfried Jerusalem
- Ein Schwert Verhiess Mir Der Vater - Siegfried Jerusalem
- Schlafst Du, Gast? - Siegfried Jerusalem
- Der Manner Sippe Sass Hier Im Saal - Siegfried Jerusalem
- Wintersturme Wichen Dem Wonnemond - Siegfried Jerusalem
- Du Bist Der Lenz - Siegfried Jerusalem
- War Walse Dein Vater - Siegfried Jerusalem
- Siegmund Heiss Ich Und Siegmund Bin Ich! - Siegfried Jerusalem
Tracks:
- Prelude - Siegfried Jerusalem
- Nun Zaume Dein Ross, Reisige Maid! - Siegfried Jerusalem
- Dir Rat Ich, Vater, Ruste Dich Selbst - Siegfried Jerusalem
- Der Alte Sturm, Die Alte Muh! - Siegfried Jerusalem
- So Ist Es Denn Aus Mit Den Ewigen Gottern - Siegfried Jerusalem
- In Wildem Leiden Erwuchs Er Sich Selbst - Siegfried Jerusalem
- Was Verlangst Du? - Siegfried Jerusalem
- Schlimm, Furcht Ich, Schloss Der Streit - Siegfried Jerusalem
- O Heilige Schmach - Siegfried Jerusalem
- Als Junger Liebe Lust Mir Verblich - Siegfried Jerusalem
- O Sag' Kunde, Was Soll Nun Dein Kind? - Siegfried Jerusalem
- Raste Nun Hier; Gonne Dir Ruh! - Siegfried Jerusalem
Tracks:
- Siegmund! Sieh Auf Mich - Siegfried Jerusalem
- Zauberfest Bezahmt Ein Schlaff - Siegfried Jerusalem
- Kehrte Der Vater Nur Heim! - Siegfried Jerusalem
- Wehwalt! Wehwalt! - Siegfried Jerusalem
- Geh Hin, Knecht! Knie Vor Fricka - Siegfried Jerusalem
- Hojotoho! Hojotoho! Heiaha! Heiaha! - Siegfried Jerusalem
- Nach Dem Tann Lenkt Sie Das Taumelnde Ross - Siegfried Jerusalem
- Schutzt Mich, Und Helft In Hochster Not! - Siegfried Jerusalem
- Nicht Sehr Dich Sorge Um Mich - Siegfried Jerusalem
- So Fliehe Denn Eilig Und Fliehe Allein! - Siegfried Jerusalem
- Steh! Brunnhild! - Siegfried Jerusalem
- Wo Ist Brunnhild', Wo Die Verbrecherin? - Siegfried Jerusalem
Tracks:
- Hier Bin Ich, Vater - Siegfried Jerusalem
- War Es So Schmahlich, Was Ich Verbrach? - Siegfried Jerusalem
- Als Fricka Den Eignen Sinn Dir Entfremdet - Siegfried Jerusalem
- So Tatest Du, Was So Gern Zu Tun Ich Begehrt - Siegfried Jerusalem
- Wohl Taugte Dir Nicht Die Tor'ge Maid - Siegfried Jerusalem
- Und Das Ich Ihn In Stucke Schlug! - Siegfried Jerusalem
- Leb Wohl, Du Kuhnes, Herrliches Kind! - Siegfried Jerusalem
- Der Augen Leuchtendes Paar - Siegfried Jerusalem
- Loge, Hor! - Siegfried Jerusalem
Tracks:
- Prelude
- Zwangvolle Plage! Muh Ohne Zweck!
- Hoiho! Hoiho!
- Da Hast Du Die Stucken, Schandlicher Stumper
- Als Zullendes Kind Zog Ich Dich Auf
- Vieles Lehrtest Du, Mime
- Einst Lag Wimmernd Ein Weib
- Und Diese Stucken Sollst Du Mir Schmieden
- Da Sturmt Er Hin
- Heil Dir, Weiser Schmied
- Hier Sitz Ich Am Herd Und Setze Mein Haupt
- Was Zu Wissen Dir Frommt, Solltest Du Fragen
- Die Stucken! Das Schwert! O Weh! Mir Schwindelt
- Verfluchtes Licht
- Heda! Fauler!
Tracks:
- Bist Du Es, Kind?
- Fuhltest Du Nie Im Finstren Wald
- Her Mit Den Stucken, Fort Mit Dem Stumper
- Notung! Notung! Neidliches Schwert!
- Hoho! Hoho! Hohei!
- Prelude
- In Wald Und Nacht
- Zur Neidhohle Fuhr Ich Bei Nacht
- Mit Mir Nicht, Hadre Mit Mime
- Fafner! Fafner! Erwache, Wurm!
- Nun, Alberich, Das Schlug Fehl
- Wir Sind Zur Stelle
- Dass Der Mein Vater Nicht Ist
Tracks:
- Aber Wie Sah Meine Mutter Wohl Aus?
- Meine Mutter, Ein Menschenweib!
- Ha Ha! Da Hatte Mein Lied
- Wer Bist Du, Kuhner Knabe
- Zur Kunde Taugt Kein Toter
- Wohin Schleichst Du Eilig Und Schlau
- Was Ihr Mir Nutzt, Weiss Ich Nicht
- Willkommen, Siegfried!
- Da Lieg Auch Du, Dunkler Wurm!
- Prelude
- Wache, Wala! Wala! Erwach!
- Stark Ruft Das Lied
Tracks:
- Dir Unweisen Ruf' Ich Ins Ohr
- Mein Voglein Schwebte Mir Fort
- Wohin, Knabe, Heisst Dich Dein Weg?
- Kenntest Du Mich, Kuhner Spross
- Mit Zerfochtner Waffe Floh Mir Der Feige?
- Selige Ode Auf Sonniger Hoh!
- Das Ist Kein Mann!
- Heil Dir, Sonne!
- O Siegfried! Siegfried! Seliger Held!
- Dort Seh Ich Grane
- Ewig War Ich, Ewig Bin Ich
Tracks:
- Welch Licht Leuchtet Dort?
- Treuberatner Vertrage Runen
- Es Ragt Die Burg Von Riesen Gebaut
- Zu Neuen Taten, Teurer Helde
- Willst Du Mir Minne Schenken
- O Heilige Gotter!
- Siegfrieds Rheinfahrt
- Nun Hor, Hagen
- Wen Ratst Du Nun Zu Frein
- Jagt Er Auf Taten Wonnig Umher
- Wer Ist Gibichs Sohn?
- Begrusse Froh, O Held
- Willkommen, Gast, In Gibichs Haus!
Tracks:
- Deinem Bruder Bot Ich Mich Zum Mann
- Bluhenden Lebens Labendes Blut
- Frisch Auf Die Fahrt!
- Hier Sitz Ich Zur Wacht, Wahre Den Hof
- Altgewohntes Gerausch
- Hore Mit Sinn, Was Ich Dir Sage!
- Welch Banger Traume Maren
- Was Leckt So Wutend
- Brunnhild'! Ein Freier Kam
- Prelude
- Schlafst Du, Hagen, Mein Sohn?
Tracks:
- Hoioh, Hagen! Muder Mann!
- Heiss Mich Willkommen, Gibichskind!
- Hoiho! Hoihohoho!
- Heil Dir, Gunther!
- Gegrusst Sei, Teurer Held
- Einen Ring Sah Ich An Deiner Hand
- Heil'ge Gotter, Himmlische Lenker!
- Helle Wehr! Heilige Waffe!
- Gunther, Wehr Deinem Weibe
- Welches Unholds List Liegt Hier Verholen?
- Vertraue Mir, Betrogne Frau!
- Auf Gunther, Edler Gibichung
- Prelude
- Frau Sonne Sendet Lichte Strahlen
- Ein Albe Fuhrte Mich Irr
Tracks:
- Was Leid' Ich Doch Das Karge Lob?
- Siegfried! Siegfried! Siegfried!
- Hoiho!
- Trink, Gunther, Trink!
- Mime Heiss Ein Murrischer Zwerg
- In Leid Zu Dem Wipfel Lauscht' Ich Hinauf
- Brunnhild'! Heilige Braut!
- Siegfrieds Trauermarsch/Siegfried's Funeral March
- War Das Sein Horn?
- Hoiho! Hoiho! Wacht Auf!
- Nicht Klage Wider Mich!
- Schweigt Eures Jammers Jauchzenden Schwall
- Starke Scheite Schichtet Mir Dort
- Mein Erbe Nun Nehm' Ich Zu Eigen
- Liegt Heim, Ihr Raben!
Amazon.com
Made between 1980 and 1983, this was the first digital recording of Wagner's Ring cycle. Upon rehearing, it has stood up very well. Janowski's conducting is no-nonsense, no-attitude: he presents the music beautifully played by the Dresden forces, with a fine feeling for the drama and relatively swift tempi. The end of Rheingold has great majesty, the opening storm and third act Ride in Walkuere are well-propelled and exciting, and the gorgeous music which takes Siegfried to Brünnhilde's rock is as beautiful as can be, while Siegfried's Rhine Journey is airy and optimistic and his Funeral music suitably heavy and tragic. Theo Adam is a fine Wotan/Wanderer, rising to great dramatic heights in Siegfried; Jessye Norman and Siegfried Jerusalem as the Volsung Twins are at their youthful best; Matti Salminen's Hagen is menacing and cruel; Siegmund Nimsgern doesn't miss a trick as Alberich; Peter Schreier's Mime is Siegfried is truly sung, rather than yelped, and very vivid (as is his Rheingold Loge); Yvonne Minton is a less-shrewish-than-usual Fricka and Norma Sharp is the most aviary Forest Bird on disc. René Kollo's Siegfried is not exactly heroic, but he inflects nicely and is always involved and spirited. The set's only weakness is not terminal but it's a pity: Jeannine Altmeyer is a lovely, intelligent singer, but her voice is too light for Brünnhilde and she's not the riveting character she should be. Luxury casting elsewhere (Lucia Popp is a Rhinemaiden; Cheryl Studer a Valkyrie) pays off. The accompanying booklet contains an essay and scene-by-scene synopsis, but no libretto. But at midprice, this handsome-sounding set is a very good bet. --Robert LevineCustomer Reviews:
Would have got six but for the lack of libretto..........2007-02-02
The casting is fabulous, the directing superb, the orchestra in great form.
I do not want to write a long dissertation for this great value box set.
The Testament set is coming out at a much much more expensive price.
Anyway, if the only 'flaw' (if you want to call it) you find in this set is Brunnhilde and Siegfried and Wotan, then you are not really a Ring fan.
Altmeyer and Kollo are more than adequate in the two lead roles. Adam's voice is a bit worn in this recording, granted that he has sung for such a long time as Wotan by the time this was recorded. But they do NOT detract from the overall high standard a single jot.
Salminen's Hagen was formidable, if not his Fafner. Norman and Jerusalem are simply an immaculate pair of Walsungs. The Rhinemaidens are SO lovely with a diamond cast including Lucia Popp. The Valkyries rival any Bayreuth line-up.
Siegfried's forging song was immaculately taken with Kollo and Schreier, the latter not being a Wagnerian heldentenor but adds so much colour and drama to the secondary Wagnerian tenor roles: the Young Steersman in Tristan und Isolde, Loge in Rheingold, Mime in Siegfried...
Of all the four parts, I would opt that Siegfried is the best recorded. A real standout, with the rest consistently high in standard.
A Ring des Nibelungen for all seasons ..........2006-11-27
First of all the nice recording quality: clear but spacious, rounded but 'direct' enough so that one is able to revel in the velvety, disciplined playing of the Staatskapelle Dresden. The playing in general is not overstated, rather measured, often intimate, I would say, but luckily compensated with 'crispness' and 'attack' and with enough drive to urge on the drama and to completely hold one's attention.
Anyway, the playing wonderfully complements the singers, who IMHO are the best for their roles. Except maybe Theo Adam's Wotan, who I believe doesn't sound 'weighty' enough for what I would expect of the role, and whose singing I find strained and wobbly at times. (But then again, I am rather biased towards the more 'chesty', booming voice of John Tomlinson in this role - quite a commanding presence, his Wotan.) The singing ranges from good to marvelous throughout, whatever one's personal tastes, with the towering talents of characterization by the sweetvoiced Siegfried Jerusalem (Siegmund) and Rene Kollo (Siegfried). And although her Brunnhilde may not be as matronly a lady as others, I am especially endeared to the soft, velvety timbre (very appropriate for this recording) of American soprano Jeannine Altmeyer, sounding youthful and sweet but with enough ardour and with a touch of necessary vulnarability; a very sympathetic and intelligent lady, this Brunnhilde. And then there are the dark and commanding Fafner and Hagen of Matti Salminen. The Rhinemaidens' voices are fresh and pure-sounding and blend wonderfully. Ortrun Wenkel creates a deeply resounding, world-weary Erda. Of Yvonne Minton's Fricka one could say that she may not be as fierce or commanding as others (take Linda Finnie for Barenboim), but she is certainly beautifully nuanced in her emotional engagement.
All in all, a Ring des Nibelungen with many strengths I believe, and no real weak points, but somewhat more 'lyrical' and without much of the 'weightiness', gravitas and power of some. But I think this somewhat more 'lightweighted', more lyrical approach is just fine, truly giving the singers ample possibility to really, well, sing out their lines.
For anyone who loves Wagner's Ring des Nibelungen, or who would like to get acquainted with Wagner's great masterwork this is a very consistent and finely nuanced modern Ring Cycle (probably enough money to secure all the necessary talents for the whole time needed to record it), a safe buy and a rewarding listen. Highly recommended. (But 'only' four *stars*, because a fifth *star* I must reserve for the Barenboim Ring, to be completely honest ...)
underrated ring.......2006-10-26
The cycle starts with the best Rheingold I have ever heard: the prelude emerges with a quantity of instrumental detail that's simply astonishing (while one usually tends to get just the strings submerging all the rest) and at a pace that's simply the most "exact" for this piece. The transition between the prelude and scene one has a lightness of touch, a swiftness, a mobility that for the first time render with appropriateness the playful teasing and swimming of the Rhine Daughters. Beautiful moments like this abound in this Tetralogy.
The first act of Walküre manages to combine Karajan's intelligent reading with a Solti-like drive. The musical and leitmotivic extreme complexity of the scores of Siegfried's Act III and of Götterdämmerung (i.e. those parts of the Ring that Wagner composed after Tristan and Meistersinger) are rendered with supreme clarity. Nowhere have I heard in the closing seconds of the Tetralogy the Twilight-of-the-Gods motif--just before the final lone expansion of the Redemption theme--with such evidence and clarity. In Karajan you barely hear it, submerged as it is by the brass parts.
The cast, despite some few minor weaknesses, stands proudly on its own. First you don't get two Wotans, two Brünnhildes, two Siegfrieds in the course of the work as it happens in some other recordings and this has its importance. A great feature of this Ring is also the possibility of hearing excellent singers at the very beginning of their careers together with other, more experienced, singers. Thus you get Jessye Norman's radiant Sieglinde, Siegfried Jerusalem's vocally firm Siegmund, René Kollo's excellent (and I repeat excellent) Siegfried. One would expect his voice to be a little too thin for the part, but while it shows some fatigue in the most difficult moments (the forging scene, and the swearing of the oath) it creates probably the most youthful, poetic and lyrical Siegfried on CD in the Neidhöhle forest and in the whole Götterdämmerung. Theo Adam's vocal longevity is astonishing when you think that he sang Wotan in 1967 for Böhm, but his vocal line is still firm and imperious, and the personality unequaled. And he possesses the text like no other ever has after Hotter.
Yvonne Minton is an excellent Fricka in both Rheingold and Walküre. Peter Schreier is probably the best Loge on CD, in a supreme rendering of this ambiguous character, and also one of the best Mime in Siegfried, while Mime in Rheingold is sung by a not overtly gifted Christian Vogel. Kurt Moll is a strong Hunding. Siegmund Nimsgern is a good Alberich (even though one still misses Neidlinger's outstanding performance with Solti) and Matti Salminen is a robust Hagen. And, finally, Jeannine Altmeyer's Brünnhilde: while not possessing the vocal line of a Flagstad or of a Nilsson, in this early part of her career she was still endowed with a freshness of voice, a youthfulness of expression that certainly leaves aside the godly part of this character but renders nonetheless very well the human part, that of the woman Brünnhilde.
Finally, the quality of the recording makes it an even better buy. The beauty of the Wagner sound emerges triumphantly from these 14 CD's. It is a DDD recording with a spatial definition, a balance between voices and orchestra, a balance between different sections of the orchestra that's never been matched afterwards.
This is a Ring that's particularly recommended to experienced listeners. In it they will find an incredible balance between modernity and tradition and endless pleasure and fascination for the innumerable treasures Janowski, together with his sublime orchestra, unveils.
Happy listening!
Excellent conducting and great singers with a few flaws.......2006-07-05
Of course, I must speak of the two main characters--Brunnhilde and Siegfried, who are so essential to making any Ring work. The Siegfried in this recording is Rene Kollo. He is the first jugendlich dramatische heldentenor ever to be cast in the role at his prime in such a recording, and while several Bayreuth and pirate Rings showcase great tenor voices such as Hans Hopf, Melchior, Windgassen, and Treptow as Siegfried, no one had the kind of voice Wagner had in mind for the role. Rene Kollo has it all--sensitive phrasing, great acting, and a voice that spans Siegfried's vocal requirements. I think he is one of the best Siegfrieds since Jess Thomas.
Brunnhilde is taken by Jeannine Altmeyer, who was Sieglinde in Boulez's ring in the 1976 Patrice Chereau production in Bayreuth. Hers is a light voice, a bit lighter than Crespin's, but unfortunately she doesn't do as much wonders with the role the way Crespin does. It is a very young, girlish Brunnhilde that makes us believe that she is a willowy, gorgeous figure that Wagner had in mind when writing the Ring libretto. She isn't the most involved of singers though. It is very well vocalized, but lacks the beauty of expression given by singers such as Helga Dernesch, Gwyneth Jones, Regine Crespin, and Astrid Varnay. Still, her Brunnhilde is a wonderful addition to the discography (one could wish that she would work on her German a bit), and her interpretation gives us an image of a young, svelte woman.
The sound in this recording is excellent, and I'd recommend it to anyone who would want to understand the polyphonic scores of Wagner's ring.
Oh that Dresden sound..........2006-04-15
Janowski's conducting is ideal for living with - he keeps things moving along nicely, sets up climaxes perfectly and never loses sight of the overall structure of the operas. This thoroughly musical performance would be an ideal introduction for anyone coming fresh to the ring, as it lacks the eccentricities of other cycles that can overtake your expectations of what 'should be'. More experienced ring collectors, too, will find themselves enthralled by much in this set.
More than any of the recent recordings Janowski's casting quality runs deep into all the minor roles, and has the advantage of having the same casts for the same roles throughout the four operas. Since Amazon does not clearly list the singers with the roles I will do so at the end of the review.
Highlights are many, and there are even some highlights in the context of the whole recorded history of the Ring (especially considering this is the first in digital sound and still the most natural and clear recording available, with voices and orchestra in perfect balance).
Worthy of special mention are the young Jerusalem & Norman as Siegmund & Sieglinde (Act 1 of Die Walkure must be among the best ever); Nimsgern's articulate Alberich; the Rhinemaidens (have they ever sounded so beautiful?); Peter Schreier's ideally characterised Loge & Mime; and Kurt Moll's cavernous Hunding. Theo Adam's years of experience shine through a wonderfully lived-in if occasionally unsteady Wotan. The Valkyries, boasting several rising stars, are among the very best groups ever assembled.
Kollo's Siegfried is wonderful in the opera that bears his name, a little forced sometimes in Gotterdammerung but still musical. Altmeyer's Brunnhilde isn't particularly attention grabbing - very pleasant in tone but a bit penny-plain in interpretation. She is always adequate but something more insightful (a la Varnay or Behrens) would have been nice. Having said that, I think criticism of her has been too harsh - she has a lovely voice and can hardly be said to spoil this recording. Perhaps it's that, with everything else so fine, one wishes for an all-conquering Brunnhilde to crown the set.
But I come back to the orchestral contribution, which is captured in the finest detail and most beautiful sound on disc. An unregrettable purchase.
Das Rheingold:
Wotan: Theo Adam
Donner: Karl-Heinz Stryczek
Froh: Eberhard Buchner
Loge: Peter Schreier
Alberich: Siegumnd Nimsgern
Mime: Christian Vogel
Fasolt: Roland Bracht
Fafner: Matti Salminen
Fricka: Yvonne Minton
Freia: Marita Napier
Erda: Ortrun Wenkel
Woglinde: Lucia Popp
Wellgunde: Uta Priew
Flosshilde: Hanna Schwarz
Die Walkure:
Siegmund: Siegfried Jerusalem
Hunding: Kurt Moll
Wotan: Theo Adam
Sieglinde: Jessye Norman
Brunnhilde: Jeannine Altmeyer
Fricka: Yvonne Minton
(Valkyries:)
Gerhilde: Eva-Maria Bundschuh
Ortlinde: Cheryl Studer
Waltraute: Ortrun Wenkel
Schwertleite: Anne Gjevang
Helmwiege: Ruth Falcon
Siegrune: Christel Borchers
Grimgarde: Kathleen Kuhlmann
Rossweisse: Uta Priew
Siegfried:
Siegfried: Rene Kollo
Mime: Peter Schreier
Der Wanderer: Theo Adam
Alberich: Siegmund Nimsgern
Fafner: Matti Salminen
Erda: Ortrun Wenkel
Brunnhilde: Jeannine Altmeyer
Voice of a Forest Bird: Norma Sharp
Gotterdammerung:
Siegfried: Rene Kollo
Gunther: Hans Gunter Nocker
Alberich: Siegmund Nimsgern
Hagen: Matti Salminen
Brunnhilde: Jeannine Altmeyer
Gutrune: Norma Sharp
Waltraute: Ortrun Wenkel
First Norn: Anne Gjevang
Second Norn: Daphne Evangelatos
Third Norn: Ruth Falcon
Woglinde: Lucia Popp
Wellgunde: Uta Priew
Flosshilde: Hanna Schwarz
Average customer rating:
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Wagner: Der Ring des Nibelungen
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ASIN: B000I8OFIM Release Date: 2006-11-21 |
Album Description
Includes: Das Rheingold * Die Walkure * Siegfried * Gotterdamerung CAST LIST Fritz Hubner, Franz Mazura, Donald McIntyre, Siegfried Jerusalem, Heinz Zednik, Manfred Jung, Dame Gwyneth Jones, Hermann Becht, Hanna Schwarz, Peter Hofmann, Jeanine Altmeyer, Matti Salminen, Gabriele Schnaut, Gwendolyn Killebrew, Bayreuth Festival Orchestra and Pierre Boulez, conductor. "Patrice Chereau's Bayreuth Centenary Ring may be more than twenty-five years old but it remains an iconic and defining production. Both he and conductor Pierre Boulez rethought approaches to Wagner, so much so that the orchestra threatened to go on strike if Boulez did not allow them to play the way they'd always played. Chereau set the action in the Industrial Age at the time the Ring was written, relating it to the political thinking of the time and humanising the characters. The cast was the cast of the day led by Donald McIntyre's frock-coated industrialist Wotan, and a redoubtable but touching Brunnhilde from Gwyneth Jones. Boulez pared back the music to, at times, chamber orchestra proportions. The result was a triumph which redefined Wagner production for the modern era and is still as powerful today as when first seen."--BBC RadioCustomer Reviews:
"Im hochsten Leid mus dich treulos die Treue verlassen!".......2007-07-23
TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes
CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.
Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.
Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.
Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.
Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).
Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".
Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.
Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).
Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.
ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.
Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.
Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.
Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.
Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".
Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.
Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.
Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.
Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.
SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).
Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.
Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".
Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.
Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.
Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.
Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.
-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.
Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).
Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."
Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).
Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.
Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).
Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".
-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.
-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.
Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.
Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.
Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.
Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.
Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.
Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!
-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").
Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.
Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.
Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.
Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.
Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.
Haitink: No offense, but Theo Adam as Alberich? Come on . . .
-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.
Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.
Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.
Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.
Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.
Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).
Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.
-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.
Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.
Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.
Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.
Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!
Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.
Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.
Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.
-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.
CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.
Boulez DVD set: Wagner - Der Ring des Nibelungen / Pierre Boulez, Bayreuth Opera (Complete Ring Cycle, Parts 1-4)
A comprehensive look at a legendary "Ring" cycle.......2006-11-29
Given its somewhat dicey reputation, I think many listeners will be astonished at how good this famous Seventies Ring from Boulez sounds when stripped of its visuals. Long available on tape and DVD, it has now been fantasically well remastered for CD. Here is a comprehensive review of each installment.
'Das Rheingold.'
Donald McIntyre Wotan ; Hermann Becht Alberich ; Martin Egel Donner ; Matti Salminen Fasolt ; Carmen Reppel sop Freia ; Norma Sharp sop Woglinde ; Ilse Gramatzki sop Wellgunde ; Hanna Schwarz mez Fricka ; Marga Schiml mez Flosshilde ; Ortrun Wenkel cont Erda ; Heinz Zednik ten Loge ; Helmut Pampuch ten Mime ; Siegfried Jerusalem ten Froh ; Fritz Hübner bass Fafner
As expected, Boulez takes a swift view of Rheingold, which helps immensely to bring the drama to the fore. In this instance the absence of visuals isn't harmful. The mostly non-stellar singers are exemplary, starting with a trio of Rheinmaidens who sing absoutely beautifully and an Alberich who malevolence is totally convincing. The Bayretuh acoustic is almost as good as a studio recording, albeit some details (such as the trumpetfanfaress in Scene 1 that celebrate the gold when the sunlight hits it) can feel a bit underplayed. With the microphones in the pit, the orchestral part is neither muffled nor distant. The voices are crystal clear, and Philips has done well in softening the sharp treble that listeners complained about on the LPs. Stage noises are considerable; the audience is silent.
For once the legendary Bayreuth orchestra actually plays like a world-class ensemble, kept together meticulously by Boulez. At the time his avoidance of Wangerian convention (i.e., ponderousness and weighty 'importance') was controversial. Now it feels both natural and refreshing. Some of the major roles aren't completely satisfying on CD, starting with Donald McIntyre's Wotan. He has a strong voice and stage presence, but the pscyhological depth of a Hans Hotter is missing; fortunately, McIntyre does his best to dramatize his lines. Happily, the Loge, aided by the fast pace, sounds like a real fire spirit and ot just a retired German tenor--this one is a bit srill and sharp-voiced, which suits the role. The Mime is even stronger (to tell the truth, he should have been the Loge since he has a mellower voice).
The scene changes and prelude are excitingly played--the entrance into the Niebelugen world after Scene 1 is quqite thrilling, and the anvils come through with force, if not exactly the ring of terror the have in Karajan's recording for DG. Donner's clanging hammer in Scene 4 is feelbe, but the resulting thunder is admirably loud. As for the climax, I've heard grander and more exalted entires of the gods into Valhalla--Boulez prefers a light, lyrical rainbow bridge.
In sum, a great Rheingold that bows to none, especially in its conducting and dramatic impact.
'Die Walkür.
Donald McIntyre Wotan ; Jeannine Altmeyer sop Sieglinde ; Gwyneth Jones sop Brünnhilde ; Carmen Reppel sop Gerhilde ; Katie Clarke sop Helmwige ; Karen Middleton sop Ortlinde ; Hanna Schwarz mez Fricka ; Gabriele Schnaut mez Waltraute ; Elisabeth Glauser mez Rossweisse ; Marga Schiml mez Siegrune ; Ilse Gramatzki mez Grimgerde ; Gwendoline Killebrew cont Schwertleite ; Peter Hofmann ten Siegmund ; Matti Salminen bass Hunding
The PBS audience thirty yeaars ago was captivated by this Walkure, especially the handsome, touching Siegmund of Peter Hoffmann, then an unknown in the U.S. However, on CD there have always been complaints about the leads. Without Nilsson as Brunnhilde, we begin to run into vocal limitations in the second installment of the "Ring," a fact as true today as in 1976. So how does the Boulez version hold up without the charismatic visuals?
As with Rheingold, I have no reservations about the reecorded sound, the orchestra, or Boulez'a conducting. Everything is first-rate, despite numberous stage noises, and there is not the slightest muffle due to the covered orchestra pit--the engineers have taken care of that. Boulez's swift modernist approach sounds as gripping as ever, totally convincing except to die-hard traditionalists who might go into shock when these tempos are set against Knappertsbusch's.
These positives set the stage for the singers, and even moderately good ones will do (by no means are any as bad as the worst in Furtwangler's two Ring cycles from Italy). Happily, the young-sounding Siegmund and Sieglinde, while hardly the equal of Melcoir and Lehmann (or anywhere close) remain dramatically convincing without the aid of visuals. Altmeyer and Hoffmann really make you believe in their characters, conveying a touching vulnerability. We get really first-rate singing form Salminen's black-voiced Hunding, Schwarz's Fricka (she also stood out in Rheingold), and, with reservations, McIntyre's Wotan. He is more than respectable, but the character fails to reach the musical heights of Hotter and the superb Thomas Stewart for Karajan. His weakest moment, unfortunately, is at the end, where his farewell to Brunnhilde encoutners vocal fatigue and fails to be emotionally moving, despite Boulez's lovely underpinnings.
This Walkure has to be appreciated as a conductor-and-stage-director's performance. If you wait for a stunning Der Maner Sippe or Wintersturme, you will be disappointed. I have saved Gwyneth Jones's Brunnhilde for last, given her controversial status. First of all, she made a stunning impact on film, equalled only by Hildegarde Behrens in her generation. The good news is that this early in her career, Jones is in best voice; the bad is that she wobbles and can't be trusted to be on pitch. I would rank her far below Nilsson and well below Crepin (Karajan's compelling Brunnhilde) in the modern era, but in no way i Jones embarrassing. Her Ho-jo-to-ho's, in fact, are believable and thrilling. Where it counts most dramatically--in the confrontation with Siegmund in Act 2 and the finale scenes with Wotan--Jones comes through.
In sum, this is a completely satisfying 'Walkure' on all counts but the singing, which is never less than veyr good but doesn't reach the heights. Since I love music drama more than opera per se, I would rank Boulez's recording above Solti on DEcca or the live Bohm account, also form Bayreuth, on Philips.
'Siegfried'.
Donald McIntyre Wanderer ; Hermann Becht Alberich ; Gwyneth Jones sop Brünnhilde ; Norma Sharp sop Woodbird ; Ortrun Wenkel cont Erda ; Manfred Jung ten Siegfried ; Heinz Zednik ten Mime ; Fritz Hübner bass Fafner
With two totally convincing installments uner his belt, Boulez raised my hopes for Siegfried. As in those performances, the Bayreuth orchestra sounds first-rate and is vividly cuahgt by the Philips engineers without the usual muffled sonics on other Wanger recordings from this site. The pacing is swift and draatically pointed--in that regard boulez surpasses the overly driven Solti and the too laid back Karajan. The recent appearnace of Keilberth's 1955 live siegfried gave us one of the best sung on records, but Boulez is far ahead of Keilberth dramatically and musically.
It's a given that 'Siegfried' brings compromises, then as now. Without singers of almost superhuman ability, every prduction must settle. Fortunately, this cast has the huge benefit of sounding dramatically committed. The Mime of a young Heinz Zednik is as good as one could hope for. Manfred Jung has a light, rather shrill voice for Siegfried, but he's youthful and totally committed to the role, which counts for a lot. The forging Scene requires deft tricks for him to get through it, but that's true for every Siegfried since Melchior. In any event, nobody since 1974 has surpassed Jung, which is something. My only reget is that he runs out of steam by the last act.
Gwyneth Jones made for a thrilling Brunnhilde in all respects--she was young strikingly good-looking, and dramatically convincing. But the Waking Scene is cruelly difficult; it requires a lustrous dramatic soprano to plant her feet and let fly. Like everyone else, I wish Jones's voice didnd't wobble and that she was on pitch more often, but there's no doubt that she lets fly. She is caught at her youthful best, and in the absence of Nilsson or Jane Eaglen, I can't think of a better Brunnhilde in the modern era.
This leaves the excellent but not great Wotan of Donald McIntyre, who tends to roar and bluster--he lacks real stature aas a character. Still, there's no doubt that he has a powerful, commanding voice. The minor roles are all well taken.
In sum, what makes this Siegfried a notable success is Boulez, who dominates every aspect of this Ring cycle. We get a good cast as far as drama goes, somewhat less appealing vocally. and the finale scene between Brunnhilde and Siegfried, which needs to be the opera's crowning glory, is a major letdown. For that reason, I think three and a half stars is about right.
'Götterdämmerung.
Hermann Becht Alberich ; Franz Mazura Gunther ; Gwyneth Jones sop Brünnhilde ; Jeannine Altmeyer sop Gutrune ; Norma Sharp sop Woglinde ; Ilse Gramatzki sop Wellgunde ; Katie Clarke sop Third Norn ; Gwendoline Killebrew mez Waltraute ; Marga Schiml mez Flosshilde ; Gabriele Schnaut mez Second Norn ; Ortrun Wenkel cont First Norn ; Manfred Jung ten Siegfried ; Fritz Hübner bass Hagen
I'm going to offer the same rationale for this 'Gotterdammerung' that is regularly offered for Furtwangler's Ring cycles from Italy. Ignore the erratic singers and concentrate on the orchestral part. This is the opera to do that in, because Wagner was at the height of his mastery in every bar of 'Gotterdamemrung.' Boulez rises to such a high level of inspiration that I think only Furtwangler--his exact opposite aesthetically--offers a comparison.
After thirty years, the cotnroversy surrounding Boulez's approach (too fast, not traditional enough, spirituality shallow) is moot. What we hear now is a great musician at work. The orchestral execution is stunning and caught all but perfectly by Philips' engineers, who put their microphones directly in the covered pit at Bayreuth. If there's a modern performance that can get by entirely on the orchestral part, it's this one--for pure virtuosity the Vienna Phil. under Solti and the Berlin Phil. under Karajan are finer, but neither conductor, I feel, can match Boulez's thrilling drama.
All of which sounds like a prelude to damning the singers with faint praise. Sadly, I have to. The roles of Brunnhilde an Siegfried are too taxing for Gwyneth Jones and (especially) Manfred Jung. Her birght, youthful dramatic soprano is closer to right, even with its pronounced wobble, than his light, rather shrill tenor, but vocal glory escapes both. I must say, however, that Jones has rarely been surpassed for emotional flexibility, and her vocally flawed Immolation Scene is totally convincing at the dramatic level.
Happily, everyone else sounds very good, but it's hard to overlook the sometimes gaping hole in the middle of this reading. This may sound like half a loaf, but in its totality this recording has more going for it vocally than either Furtwangler cycle, even given Flagstad's unique contribution. It also surpasses the cycles from Haitink on EMI and Levine on DG.
In sum, this is a conductor's 'Gotterdammerung,' and by that standard it deserves five stars. It's shocking that British critics have dissed Boulez so consistently over the years as they overpraised Bohm and Solti. The singers reach a level that would be hard to equal today, much less surpass. Even so, one can't pretend that they rise to the excellence of Solti's famed cast for Decca.
Boulez sans Chereau; c'est bon..........2006-11-21
Boulez sans Chereau Pt II
A brief second review is in order, since my first was based on the DVD and my old LP's -- I have since acquired and listened to the CD edition of the Boulez 1980 Bayreuth Ring, and I just want to add that the remastered sound is SPECTACULAR; the Bayreuth acoustic, Boulez's extraordinary attention to color and detail, the orchestra's virtuosity (no fluffed notes, weird entrances, etc)all make for one of the most formidable displays of RING conducting ever. All the fleetness and drama of Bohm, without the crass lack of nuance, all the attention to detail of Karajan without the somnolent stasis...if only Boulez had tackled this in the late '60's, back when he was conducting Parsifal at the festival, and would have had the benefit of a better cast...sigh. Anyway, this may not be a first choice Ring, but for addicts, I think this beats the way-over-rated, over-priced and under-conducted Keilberth stereo edition on Testament...
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ASIN: B00004XT2G Release Date: 2001-02-27 |
Tracks:
- The Rhinegold: Lugt, Schwestern! Die Weckerin Lacht in Den Grund - Helen Donath/Edda Moser/Anna Reynolds/Zoltan Kelemen
- The Rhinegold: Nur Wer Der Minne Macht Ensagt - Helen Donath/Edda Moser/Anna Reynolds
- The Rhinegold: Der Welt Erbe Gewann Ich Zu Eigen Durch Dich - Zoltan Kelemen/Helen Donath/Edda Moser/Anna Reynolds
- The Rhinegold: Haltet Den Rauber! - Helen Donath/Edda Moser/Anna Reynolds
- The Rhinegold: Hor, Wotan, Der Harrenden Wort! - Karl Ridderbusch/Dietrich Fischer-Dieskau/Martti Talvela/Simone Mangelsdorff
- The Rhinegold: Schwester! Bruder! Rettet! Helft! - Simone Mangelsdorff/Donald Grobe/Robert Kerns/Gerhard Stolze/Josephine Veasey
- The Rhinegold: Wotan, Gemahl, Unselger Mann! - Josephine Veasey/Dietrich Fischer-Dieskau/Gerhard Stolze/Robert Kerns/Donald Grobe
- The Rhinegold: (Transformation Music) - BPO/Herbert Von Karajan
- The Rhinegold: Zur Burg Fuhrt Die Brucke - Donald Grobe
- The Rhinegold: Abendlich Strahlt Der Sonne Auge - Dietrich Fischer-Dieskau
- The Rhinegold: So Gruss Ich Die Burg - Dietrich Fischer-Dieskau/Josephine Veasey/Gerhard Stolze
- The Rhinegold: Rheingold! Rheingold! - Helen Donath/Edda Moser/Anna Reynolds/Dietrich Fischer-Dieskau/Gerhard Stolze
- The Valkyrie: Der Manner Sippe Sass Hier Im Saal - Gundula Janowitz/Jon Vickers
- The Valkyrie: Wintersturme Wichen Dem Wonnemond - Jon Vickers
- The Valkyrie: Du Bist Der Lenz - Gundula Janowitz
- The Valkyrie: O Susseste Wonne! Seligstes Weib! - Jon Vickers/Gundula Janowitz
- The Valkyrie: War Walse Dein Vater, Und Bist Du Ein Walsung - Gundula Janowitz/Jon Vickers
- The Valkyrie: Siegmund, Den Walsung, Siehst Du, Weib! - Jon Vickers/Gundula Janowitz
- The Valkyrie: (The Ride Of The Valkyries) - BPO/Herbert Von Karajan
- The Valkyrie: Leb Wohl, Du Kuhnes, Herrliches Kind! - Thomas Stewart
- The Valkyrie: Der Augen Leuchtendes Paar - Thomas Stewart
- The Valkyrie: Loge, Hor! Lausche Hieher! - Thomas Stewart
- The Valkyrie: (Magic Fire Music) - BPO/Herbert Von Karajan
Tracks:
- Siegfried: Dass Der Mein Vater Nicht Ist - Forest Murmurs - Jess Thomas
- Siegfried: Nun Sing! Ich Lausche Dem Gesang! - Jess Thomas/Catherine Gayer
- Siegfried: Prld To Act III. - BPO/Herbert Von Karajan
- Siegfried: Wache, Wala! Wala! Erwach! - Thomas Stewart
- Siegfried: (Brunnhilde's Awakening: Intro) - BPO/Herbert Von Karajan
- Siegfried: Heil Dir, Sonne! Heil Dir, Licht! - Helga Dernesch/Jess Thomas
- Siegfried: Siegfried! Siegfried Seliger Held! - Helga Dernesch/Jess Thomas
- Twilight Of The Gods: (Orchestral Interlude) - BPO/Herbert Von Karajan
- Twilight Of The Gods: Zu Neuen Taten, Teurer Helde - Helga Dernesch
- Twilight Of The Gods: Mehr Gabst Du, Wunderfrau, Als Ich Zu Wahren Weiss - Helge Brilioth/Helga Dernesch
- Twilight Of The Gods: (Siegfried's Rhine Journey) - BPO/Herbert Von Karajan
- Twilight Of The Gods: (Funeral Music) - BPO/Herbert Von Karajan
- Twilight Of The Gods: Starke Scheite Schichtet Mir Dort - Helga Dernesch
- Twilight Of The Gods: Mein Erbe Nun Nehm Ich Zu Eigen - Helga Dernesch
- Twilight Of The Gods: Fliegt Heim, Ihr Raben! - Helga Dernesch
- Twilight Of The Gods: Conclusion 'Zuruck Vom Ring!' - Karl Ridderbusch
Customer Reviews:
A substantial overview of Karajan's Ring.......2007-07-11
One now comes to Richard Wagner, often considered the master of Romantic music and one of the definitive composers to ever set foot on the soil of this planet. If one were to painstakingly evaluate the two conductors' collective Wagnerian works, one would most likely come to the conclusion that Hungarian-born Sir Georg Solti was a "more perfect" Wagnerian conductor than the Austrian musical megalomaniac Herbert von Karajan. Solti's style of conducting, which lent itself to the works of Ludwig van Beethoven, Mahler, and Richard Strauss, was obviously within the atmosphere of Wagner, and his John Culshaw-produced rendering of Der Ring des Nibelungen can easily be considered one of the greatest achievements in modern recorded sound. Nonetheless, Karajan's brilliance came not from his ability to conduct Wagner perfectly, as one might arguably suggest for Solti, but rather from his ability to approach every composer with a certain level of comfort and singularity while simultaneously retaining his format of interpretation. Karajan was just as comfortable with the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart as he was with Jean Sibelius and Arnold Schoenberg, and his expertise transcended every medium, from choral works and masses to symphonies to operas to concerti. It was also his singular smoothness, his uncanny ability to gloss and refine the roughest and most vulgar of music (which, occasionally, in a work such as Carmen, had a derogatory effect) which made his Wagnerian music so spectacular a beacon and link within the chain mail of the musical world.
This is the reason why this recording of Der Ring des Nibelungen features what critics have called a "chamber music approach" to the Wagner score; Karajan dissected the music (as he did with everything he conducted) and took every measure to present, at all times, the beauty inherent in the music, even at the most violent and explosive instances. No fault is obvious in this, and with the operas of Rossini or Donizetti, no problem would have occurred; however, with Wagner, placing too burdensome an emphasis on beauty could, possibly, have an acidic effect on the overall drama of the work. This became an almost debilitating fault near the end of his illustrious career, but here the results are stunning. Karajan's interpretation is not sluggish (by the standards set by Solti, it is actually fairly brisk) and the orchestral performance from the imperial Berliner Philharmoniker is beyond betterment.
Thus, one must wonder why this recording of the Ring Cycle, with arguably the best conductor in the world leading one of the finest groups of musicians ever assembled, is frequently dogged by critics as weak and woefully idealistic. The answer lies in Karajan's casting which is, overall, inferior to Solti's. However, jewel-bedecked performances can be found in Karajan's cast with which Solti's cannot compete. Jon Vickers and Gundula Janowitz bring new definition to the twins Siegmund and Sieglinde. Operatic roles may have existed which Vickers did not perfect, but those which he performed (Peter Grimes, Samson, Tristan, Aeneas, Otello, Don José) were forever standardized by his interpretation. Siegmund is no exception, and though James King was a golden-toned, amorous youth on the Solti Die Walküre, Vickers is mightily Zarathustran and gloriously introspective during "Winterstürme wichen dem Wonnemond." Janowitz, who could make the harshest, most brutal German phrases drip with the smoothness and creamy elegance of French, brings radiance and gleaming simplicity to her Sieglinde which no other soprano could dare attempt. Their ecstatic, and eventually orgasmic, love duet ("Du bist der Lenz" ... "O süsseste Wonne! Seligstes Weib!" ... "Siegmund, den Wälsung, siehst du, Weib!") may be the greatest moment of Karajan's entire Ring Cycle.
The character of Wotan, the ruler of the gods, should, theoretically, be performed by a commanding, sonorous bass-baritone such as George London, Hans Hotter, Theo Adam, or James Morris, the most superb modern Wagnerian baritone. However, Dietrich Fischer-Dieskau, who was so praised for his vocal delicacy and aristocratic gentility, is surprisingly successful as the ambitious god whose ageless wisdom was blinded by his opulent rapaciousness in Das Rheingold. Fischer-Dieskau was often fussy and blusterous on the operatic stage, but brief instances of vocal waywardness are often excusable through Wagner, and he will have no difficulty pleasing the most caustic critic during his wondrous musing as the gods enter the celestial fortress of Valhalla ("Abendlich strahlt der Sonne Auge...So grüss ich die Burg"). Thomas Stewart, a severely under-recorded American baritone, excels as Wotan in Die Walküre and Siegfried. Wotan's eminent farewell to Brünnhilde in Die Walküre ("Leb wohl, du kühnes, herrliches Kind!...Der Augen leuchtendes Paar") could easily buckle many baritones; Stewart, however, sings with unfettered passion and mournful abandonment as the pained father. He is less thrilling (due to the context of the music, not his voice) in his conjuring of Erda in Siegfried ("Wache, Wala! Wala! Erwach!").
Gerhard Stolze, the consummate character singer, is not featured on this set of highlights as Mime, Alberich's toiling, gnomish brother, in Siegfried; his unique caricature of Loge in Das Rheingold is inserted instead. Loge, the mischievous demigod of fire, is a part usually performed by a heldentenor, such as Wolfgang Windgassen, Set Svanholm, or Siegfried Jerusalem, and for those strictly concerned with vocal beauty, these singers would be highly appropriate. However, for those seeking a more burlesque, stupendously acted performance (merely listen as he warns the gods not to enter Valhalla ["Ihrem Ende eilen sie zu"]), Stolze is perfectly idiomatic and certainly does not "bark" his lines, though he is occasionally criticized for doing so. Hungarian bass-baritone Zoltan Kélémén's career began, for the most part, with Karajan casting him as Alberich. The most inimitable interpreter of the dwarf fiend was Gustav Neidlinger; his Alberich was explosively, thunderously vindictive, a Caligulan nemesis. Kélémén's Alberich was a twisted, grisly deuce, and though he may have lacked the vocal robustness of Neidlinger (and the malignant guffaw), his retort against the mocking of the Rheintöchter ("Der Welt Erbe gewänn ich zu eigen duch dich") is a petrifying outburst. Helen Donath, Edda Moser, and Anna Reynolds are the most perfectly tuned Rheintöchter available on disc. No other trio can compare with their beguiling chatter in the first scene ("Lugt, Schwestern! Die Weckerin lacht in den Grund") nor with their wrathful longing in the finale ("Rheingold! Rheingold! Reines Gold!"). Liselotte Rebmann, Daniza Mastilovic, Ingrid Steger, Lilo Brockhaus, Carlotta Ordassy, Barbro Ericson, Cvetka Ahlin, and Helja Jenckel are similarly victorious during the Walkürnritt ("Hojotoho!"), which is sure to conjure an image of helicopters napalming seaside Vietnamese villages vis-à-vis Francis Ford Coppola or hellish, armed and armor-bedecked maidens soaring about on flying horses.
Josephine Veasey possessed an elegant, matronly tone which was perfectly suited for Fricka, Wotan's bickering wife, the goddess of marriage. Donald Grobe, a Karajan regular, is insipid but secure as Froh in his brief monologue ("Zur Burg führt die Brücke"). Martti Talvela and Karl Ridderbusch (another Karajan regular) shared the four main bass roles in the saga: Fasolt, Fafner, Hunding, and Hagen. Talvela is noted as one of the most sympathetic Fasolts on record; one must wonder how Talvela, the gargantuan Finnish bass, could not be suitable as a giant in any opera. His performance is woefully truncated here, alas. His Hunding, which was surely brutish and bovine, is not heard at all. The iniquitous villain Fafner's greatest moment comes not in Das Rheingold as the bellowing lummox but in Siegfried as the leering, yawning dragon; this is also left out of the collection. Ridderbusch's performance as Hagen, often heralded as one of his finest, is represented here by little more than his final outburst of "Zurück vom Ring!" After Dame Joan Sutherland's "cameo" appearance as the Waldwogel in Sir Georg Solti's Siegfried, all other performances are bound to fall short. Nonetheless, Catherine Gayer is notably lovely and chirpy.
Most criticism concerning the soloists is invested in insulting Jess Thomas, Helga Dernesch, and Helge Brilioth. Thomas, a regal Lohengrin and Tannhäuser in his youth, has forever been the recipient of spiteful banter reviling his performance as Siegfried in the third opera of the cycle. It is true that Windgassen owned the role in much the same way that Birgit Nilsson was the executor of Brünnhilde (after Flagstad and Varnay); however, their performances were sublime in the locality of their vocal precision and dramatic prowess, which were sublime. In the sector of vocal attractiveness (which is, one must concede, Karajan's principal area of focus), Windgassen fell short of the golden-throated Thomas, and Nilsson's steely voice, though it possessed its own rampageous eroticism, was also inferior to Helga Dernesch's richer and milder tone. As examples, Thomas is marvelous during the darkly impressionistic, meandering Waldweben ("Dass der mein Vater nicht ist"); Dernesch is ravishing in the Awakening Scene ("Heil dir, Sonne! Heil dir, Licht! ... Siegfried! Siegfried! Seliger Held!") and in the apocalyptic finale of Götterdämmerung ("Starke Scheite schichtet mir dort...Fliegt heim, ihr Raben!"). Poor Brilioth is often criticized for simply sounding dull and inadequate as Siegfried in Götterdämmerung, and one must concede that it would have been more prudent for Karajan to cast Windgassen. [Régine Crespin, who is not featured on this collection, performed Brünnhilde in Die Walkure. This had mixed results, for most held her performance as the Valkyrie in juxtaposition to her gorgeous interpretation of Sieglinde on the Solti recording. I, personally, found her Brunnhilde delightfully witty and humane.]
Perhaps the greatest fault of this collection of highlights is that it is what it is: a collection of excerpts. Der Ring des Nibelungen is an expansive masterpiece which is not suitable for a two-disc collection of noteworthy tracks. This compilation, nevertheless, is indeed superb (as are most Deutsche Grammophon/Panorama releases), as is the set of highpoints from Karl Böhm's Ring Cycle, released through Philips. One should, by all means, disregard the hateful criticism placed upon Karajan's work here. It is not his finest, but it is Karajan, and his worst level is a pinnacle of excellence which most conductors can only hope to achieve, particularly in a Wagnerian sphere.
Where is Karajan's Ring on amazon?.......2005-09-05
not an introduction to The Ring.......2005-04-18
A wonderful introduction, or a new experience.......2004-02-14
Secondly, the CD is worth its price mainly due to Karajan's conducting. After listening to Solti's version of the Ring (also wonderful), I was suprised by the subtle hints he seems to charge through. You can literally hear the galloping of the horse, or subtle musical hints which add a great appreciation and character to the opera. Thus, if you have experienced several other conductors, but have not had the pleasure of Karajan, it would be worth the price.
Unfortunatly, some of the singing is kinda weak. Again, after Solti's Valkyries, you will have a hard time getting into the singing. And again, Karajan's Brunhilde isn't as strong as Solti's, but she still holds her own. Loge, here, sounds like a trickster (though he does sing/speak his words), and the Wotan's are alright.
In conclusion, this is perfect if you want to add flavor to your Wagner listening experience, or just want to know what the big deal is. I, of course, suggest getting one of the DVD's to get the big picture of what is going on (Levine's MET is a good start). So buy and enjoy.
good introduction.......2002-06-11
Meditation Music:
- Richard Wagner: Götterdämmerung
- Richard Wagner: Lohengrin
- Richard Wagner: Parsifal
- Richard Wagner: Tannhäuser
- Romanzas
- Rossini: Il Barbiere Di Siviglia (The Barber Of Seville) / de los Angeles
- Rossini - La Cenerentola / Valentini-Terrani · Araiza · Dara · Trimarchi · Ravaglia · Schmiege · Corbelli · Ferro
- Saint-Saëns: Samson et Dalila / Domingo, Meier, Chung
- Schubert: Der vierjährige Posten
- Smetana: The Bartered Bride
Meditation Music
Optiganally Yours Presents: Exclusively Talentmaker
Songs Of Solitudes; American Works For Solo Violin
Songs For Silverman [DualDisc] [Explicit Lyrics]