Wagner: Die Walküre (Highlights)

1. Die Walküre (The Valkyrie), opera, WWV 86b Der Männer Sippe sass hier im Saal
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Jessye Norman, Gary Lakes
   Conducted by James Levine
   
   
2. Die Walküre (The Valkyrie), opera, WWV 86b Winterstürme wichen dem Wonnemond
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Gary Lakes
   Conducted by James Levine
   
   
3. Die Walküre (The Valkyrie), opera, WWV 86b Du bist der Lenz, nach demich verlangte
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Jessye Norman
   Conducted by James Levine
   
   
4. Die Walküre (The Valkyrie), opera, WWV 86b O süsseste Wonne! Seligstes Weib!
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Jessye Norman, Gary Lakes
   Conducted by James Levine
   
   
5. Die Walküre (The Valkyrie), opera, WWV 86b Siegmund heiss ich und Siegmund bin ich!
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Jessye Norman, Gary Lakes
   Conducted by James Levine
   
   
6. Die Walküre (The Valkyrie), opera, WWV 86b Walkürenritt/Hojotoho! Hojotoho!
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Meredith Parsons, Diane Kesling, Ruthild Engert, Reinhild Runkel, Linda Kelm, Hildegard Behrens, Marilyn Mims, Anne Wilkens, Marita Napier
   Conducted by James Levine
   
   
7. Die Walküre (The Valkyrie), opera, WWV 86b Schützt mich und helft in höchster Not!
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Meredith Parsons, Diane Kesling, Ruthild Engert, Reinhild Runkel, Linda Kelm, Hildegard Behrens, Marilyn Mims, Anne Wilkens, Marita Napier
   Conducted by James Levine
   
   
8. Die Walküre (The Valkyrie), opera, WWV 86b Nicht sehre dich Sorge um mich
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Jessye Norman, Ruthild Engert, Linda Kelm, Marilyn Mims, Anne Wilkens, Meredith Parsons, Diane Kesling, Reinhild Runkel, Hildegard Behrens, Marita Napier
   Conducted by James Levine
   
   
9. Die Walküre (The Valkyrie), opera, WWV 86b Steh, Brünnhild
   Composed by Richard Wagner
   Performed by Metropolitan Opera Orchestra
   with Ruthild Engert, James Morris, Linda Kelm, Marilyn Mims, Anne Wilkens, Meredith Parsons, Diane Kesling, Reinhild Runkel, Hildegard Behrens, Marita Napier
   Conducted by James Levine
   
   
10. Die Walküre (The Valkyrie), opera, WWV 86b Du zeugtest ein edles Geschlecht
    Composed by Richard Wagner
    Performed by Metropolitan Opera Orchestra
    with James Morris, Hildegard Behrens
    Conducted by James Levine
    
    
11. Die Walküre (The Valkyrie), opera, WWV 86b Leb wohl, du kühnes, herrliches Kind!
    Composed by Richard Wagner
    Performed by Metropolitan Opera Orchestra
    with James Morris
    Conducted by James Levine
    
    
12. Die Walküre (The Valkyrie), opera, WWV 86b Der Augen leuchtendes Paar
    Composed by Richard Wagner
    Performed by Metropolitan Opera Orchestra
    with James Morris
    Conducted by James Levine
    
    
13. Die Walküre (The Valkyrie), opera, WWV 86b Loge, hör! Lausche heiher!
    Composed by Richard Wagner
    Performed by Metropolitan Opera Orchestra
    with James Morris
    Conducted by James Levine
    
    
14. Die Walküre (The Valkyrie), opera, WWV 86b Feuerzauber
    Composed by Richard Wagner
    Performed by Metropolitan Opera Orchestra
    Conducted by James Levine
    
    

Wagner: Die Walküre (Highlights),Richard Wagner,James Levine,Metropolitan Opera Orchestra,Anne Wilkens,Diane Kesling,Gary Lakes,Hildegard Behrens,James Morris,Jessye Norman,Linda Kelm,Marilyn Mims,Marita Napier,Meredith Parsons,Reinhild Runkel,Ruthild Engert,Polygram Records,Classical,Classical Music,German/Austrian Romantic Opera,Opera

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Average customer rating: The beautiful gift of opera... Pretty darn good The Opera #1 Opera Album Excellent assortment Great Selections

The #1 Opera Album Giacomo Puccini , Giuseppe Verdi , Léo Delibes , Georges Bizet , Umberto Giordano , Wolfgang Amadeus Mozart , Richard Wagner , Gioachino Rossini , Alfredo Catalani , Jacques Offenbach , Ruggiero Leoncavallo , Charles Gounod , Gaetano Donizetti , Pietro Mascagni , Antonin Dvorak , Richard Bonynge , Herbert von Karajan , Alberto Erede , Lamberto Gardelli , Giuseppe Patane , John Mauceri , Zubin Mehta , Charles Dutoit , Gyorgy Fischer , Riccardo Chailly , Istvan Kertesz , Leone Magiera , Evelino Pido , Gianandrea Gavazzeni , Renée Fleming , Cecilia Bartoli , Luciano Pavarotti , Jussi Bjorling , and Renata Tebaldi Manufacturer: Decca ProductGroup: Music Binding: Audio CD General | Delibes, Léo | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Donizetti | Donizetti, Gaetano | ( D ) | Featured Composers, A-Z | Classical | Styles | Music General | Dvorák, Antonín | ( D ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gounod | 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Performers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: The Most Famous Opera Duets The Most Famous Opera Arias The Best of Italian Opera Nessun Dorma ~ 20 Great Tenor Arias / Pavarotti, Carreras, Domingo, Bergonzi, Aragall, Björling, Di Stefano, Kollo, Corelli, Del Monaco... The Best Opera Album in the World...Ever! ASIN: B000059RXO Release Date: 2001-02-27

Tracks:

1. Carmen: Act 1: Prld - LPO/Sir Georg Solti
2. La Traviata: Brindisi: Libiamo, Ne'lieti Calici - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
3. La Boheme: Che Gelida Manina - Luciano Pavarotti
4. Lakme: Flower Duet: Dome Epais Le Jasmin - Joan Sutherland/Jane Berbie
5. Fedora: Amor Ti Vieta - Jussi Bjorling
6. Carmen: Habanera: L'amour Est Un Oiseau Rebelle - Tatiana Troyanos/John Alldis Chor/John Alldis
7. Nabucco: Chor Of The Hebrew Slaves: Va Pensiero - Chicago Sym Chor/Margaret Hills
8. Le Nozze Di Figaro: Dove Sono - Kiri Te Kanawa
9. Rigoletto: La Donna E Mobile - Luciano Pavarotti
10. Lohengrin: Bridal Chor: Treulich Gefuhrt Ziehet Dahin - Konzertvereinigung Wiener Staatsopernchor/Walter Hagen-Groll
11. Gianni Schicchi: O Mio Babbino Caro - Renata Tebaldi
12. Il Barbiere Di Siviglia: Largo Al Factotum - Leo Nucci
13. La Wally: Ebben?... Ne Andro Lontana - Angela Gheorghiu
14. Madama Butterfly: Humming Chor - Wiener Staatsopernchor/Norbert Balatsch
15. Carmen: Flower Song: La Fleur Que Tu M'avais Jetee - Placido Domingo
16. Les Contes D'Hoffmann: Barcarolle: Belle Nuit, O Nuit D'Amour - Joan Sutherland/Huguette Tourangeau/Chor De La Radio Suisse Romande, Pro Arte De Lausanne Et Du...
17. Tosca: E Lucevan Le Stelle - Placido Domingo
18. Madama Butterfly: Un Bel Di - Mirella Freni
19. Les Pecheurs De Perles: C'est Toi... Au Fond Du Temple Saint - Gregory Cross/Gino Quilico

Tracks:

1. Die Walkure: The Ride Of The Valkyries - Wiener Phil/Solti
2. Le Nozze Di Figaro: Voi Che Sapete - Cecilia Bartoli
3. Pagliacci: Recitar!... Vesti La Giubba - Luciano Pavarotti
4. La Boheme: O Soave Fanciulla - Mirella Freni/Luciano Pavarotti/Roland Panerai
5. Il Trovatore: Anvil Chor: Vedi! Le Fosche - Chicago Sym Chor/Margaret Hillis
6. Manon Lescaut: Donna Non Vidi Mai - Jose Carreras
7. Don Giovanni: La Ci Darem La Mano - Lucia Popp/Tom Krause
8. Mattinata - Andrea Bocelli
9. Faust: Soldiers' Chor - Ambrosian Opr Chor/John McCarthy
10. L'elisir D'amore: Una Furtiva Lagrima - Roberto Alagna
11. Turandot: Signore, Ascolta! - Montserrat Caballe
12. Don Giovanni: Champagne Aria: Finch'han Dal Vino - Bryn Terfel
13. Cosi Fan Tutte: Trio: Soave Sia Il Vento - Renee Fleming/Anne Sofie Von Otter/Michele Pertusi
14. Il Trovatore: Di Quella Pira - Luciano Pavarotti/Joan Sutherland/London Opr Chor/Terry Edwards
15. Tosca: Vissi D'arte - Kiri Te Kanawa
16. Carmen: Toreador Song - Jose Van Dam/Tatiana Troyanos/Norma Burrowes/Jane Berbie/Thomas Allen/Pierre Thau/John Alldis...
17. Madama Butterfly: Love Duet: Vogliatemi Bene - Mirella Freni/Luciano Pavarotti
18. Cavalleria Rusticana: Intermezzo - Nat PO/Gianandrea Gavazzeni
19. Rusalka: O Silver Moon - Renee Fleming
20. La Boheme: Si. Mi Chiamano Mimi - Angela Gheorghiu
21. Turandot: Nessun Dorma - Luciano Pavarotti/John Alldis Chor/John Alldis

Amazon.com

The labels that are now gathered under the Universal Classics umbrella have a pretty impressive scorecard in the area of classical compilations. We've seen The Greatest Opera Show on Earth, The Yellow Guide: Classical Music, Best of the Millennium, and now there's The No. 1 Opera Album. But that's no surprise, since Universal has some of the finest interpreters in its catalogue to draw from. This two-CD set (at the price of one), for example, brings together the likes of Cecilia Bartoli, Renée Fleming, Luciano Pavarotti, Kiri Te Kanawa, Sir Georg Solti, Herbert von Karajan, and many more. Yet the other key to a successful compilation is canny anthologizing, and here again, you have a nice selection to give you a smattering of opera's heavyweights from the Italian, German, and French repertory (there's even a step outside the standard framework with an aria from Dvorák's lovely Rusalka). Ranging from 1959 to 1997, the choices from back catalogue will doubtless be the entry ticket for many into this grandest of the arts. --Sarah Chin

Customer Reviews:

The beautiful gift of opera..........2007-07-17

This 2-CD set is absolutely wonderful! You can close your eyes and feel like you're actually at the opera, listening to those beautiful voices bringing tears to your eyes. Nessun Dorma still stirs up emotions in me, no matter how many times I hear it. Great examples of opera to give someone wanting to get interested in this style of music.

Pretty darn good.......2007-07-04

This CD set has a lot of familiar music on it, so if you're a newbie, you might want to try starting with this. There are some great pieces on the first CD. I usually don't even make it to the second.

The Opera #1 Opera Album.......2007-06-07

The music is wonderful. The production is terrible!! The sound fades in and out and is very scratchy in some places.

Excellent assortment.......2007-05-12

I'm not a big opera fan but I wanted to expose an assorted selection for my kids. This was perfect since it included several recognizable selections.

Great Selections.......2007-03-31

This Cd, has the very best of Opera
covering mainly from the classcal
to the to the romantic periods, a most
memorable selection here is Leo Nucci
in a lagendary performance of Rossini's
"Largo al Factotum" from "Il Barbiere di Seviglia"
also Andrea Bocelli in his performance of Leoncavallo's
memorable "Matinatta" here in an orchestrated version.
Indeed some of opera's most loved arias are in this recording
various conductors, orchestras, and soloists. All in their
very best. Indeed a five-star recording...

Average customer rating: Outstanding Resource - We LOVE This CD! Great Intro to Operas A Sampler of Greatest Hits and Karaoke, Too World's Very Best Opera for Kids... in English Great for adults too!

World's Very Best Opera for Kids... in English! Manufacturer: Children's Group ProductGroup: Music Binding: Audio CD All Works by Handel | Handel, George Frideric | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music General | Children's Music | Styles | Music Similar Items: Pavarotti's Opera Made Easy-My Favourite Opera For Children Beethoven's Wig 3: Many More Sing-Along Symphonies The Classical Child at the Opera Beethoven's Wig: Sing Along Symphonies Beethoven's Wig, Vol. 2: More Sing-Along Symphonies ASIN: B0000C5ROP Release Date: 2003-09-23

Tracks:

1. The Barber Of Seville: Largo Al Factotum - Gregory Dahl
2. Carmen: Habanera - Jean Stilwell
3. The Marriage Of Figaro: Non Piu Andrai - Allan Monk
4. The Magic Flute: Papageno's Song - Daniel Lichti
5. Carmen: The Toreadors Song - Brian Banion
6. La Boheme: Donde Lieta Usci - Addio Di Mimi - Laura Whalen
7. The Magic Flute: Der Hoole Rache (The Queen Of The Night's Aria) - Aline Kutan
8. Rigoletto: La Donna E Mobile - Michael Schade
9. Tales Of Hoffman: The Doll Song - Tracy Dahl
10. Die Walkure: Ride Of the Valkyries - Laura Whalen
11. The Marriage Of Figaro: Voi, Che Sapete - Erin Thrall
12. Madame Butterfly: Un Bel Di Verdremo - Natalie Choquette
13. Xerxes: Ombra Mai Fu - Daniel Taylor
14. Rigoletto: Caro Nome - Lambroula Maria Pappas
15. Habanera - The Budapest Concert Orchestra MAV
16. Non Piu Andrai - The Budapest Concert Orchestra MAV
17. Papageno's Song - The Budapest Concert Orchestra MAV
18. La Donna E Mobile - The Budapest Concert Orchestra MAV
19. Voi, Che Sapete - The Budapest Concert Orchestra MAV

Customer Reviews:

Outstanding Resource - We LOVE This CD!.......2007-07-16

This is a GREAT CD! Both the children and my husband and I love it. We bought it as an introduction to opera for our homeschooled children, and never guessed we'd all enjoy it so much.

All the tunes are ones you will probably recognize - but hearing the words that go with the music and hearing them in *English* is so helpful! It has been really fun to find out what these songs are really about.

My kids and I often catch ourselves singing opera through the day now, which is really neat. It has helped build their understanding of music in many different ways, and has improved my oldest daughter's voice ability as she strives to keep up with the professional singers on the CD.

The music is beautiful, the words are lovely and give meaning, and this whole CD is just exceptionally good entertainment!

Great Intro to Operas.......2006-10-16

THE WORLD"S VERY BEST OPERA FOR KIDS is a collection of fourteen of the best loved arias in the world. The whole family will enjoy this CD, which is a unique version of these famous arias in that these are all sung in English so your child (and you) can appreciate and imagine the story that it illustrates. It is a wonderful introduction to opera and will have the whole family humming the memorable melodies, which are sung by some of the best of famous voices. You will be inspired to read the storylines of the operas to your children for a wonderful educational and delightful family hour. The CD includes an insert with the words so you can sing along

A Sampler of Greatest Hits and Karaoke, Too.......2006-04-05

It really doesn't get much better than this CD. The primary benefit of the music is that it is a terrific selection of funny and touching arias from the classical genre. I am an opera lover and bought this for myself to memorize the words in English, as prompts when I listen to the pieces untranslated. I started listening to the CD while I was driving, and within a week had bought about a dozen CDs to distribute to family members and friends, with kids (and without). Everyone loves it. And at the end of the CD are several tracks of just the music, so you can sing along, which is a hoot. Your friends and colleagues, who hear you barking along to beats, will think you have taken leave of your senses. The lyrics (in English) are in the liner notes. I would suggest not reading the liner notes while driving.

Second CD benefit. The time you spend listening to this will be the equivalent of an afternoon at the beach or a walk in the mountains. The calming factor is amazing.

World's Very Best Opera for Kids... in English.......2006-01-30

I listen to this with my 3 year old and we both enjoy it. I am not an operatic expert and to my lay ears the performances here sound great, and my daughter likes hearing the words to some of her favorite music ("Play the Torreadores again Mommy!") Its a nice break from some more traditional kids songs that we listen to.

Great for adults too!.......2005-08-15

I never had an interest in opera until I made a trip to Italy and dined in an opera cafe. I appreciate it even more thanks to this CD. Now that I can hear the lyrics in english and read a synopsis of the story, I appreciate and enjoy opera even more.

Average customer rating: Opera for Children Great Opera for Children My six-year old liked it! Fun, accessible opera for you and your child to enjoy

Pavarotti's Opera Made Easy-My Favourite Opera For Children Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Gounod | Gounod, Charles | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Humperdinck, Engelbert | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Offenbach | Offenbach, Jacques | ( O ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Puccini | Puccini, Giacomo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Verdi | Verdi, Giuseppe | ( V ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Allen, Thomas | ( A ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Romances | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music Gounod, Charles | C to G | Featured Composers, A-Z | Opera & Vocal | Styles | Music Humperdinck, Engelbert | H to L | Featured Composers, A-Z | Opera & Vocal | Styles | Music Mozart, Wolfgang Amadeus | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Offenbach, Jacques | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Puccini, Giacomo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music Rossini, Gioacchino | Q to T | Featured Composers, A-Z | Opera & Vocal | Styles | Music Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music Vocal Works by Verdi | Verdi, Giuseppe | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music French | Languages | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Sutherland, Joan | Divas | Opera & Vocal | Styles | Music Troyanos, Tatiana | Divas | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: World's Very Best Opera for Kids... in English! Classical Music for Children: A Toddler's Introduction to Classical Music The Classical Child at the Opera Children's Favorites David Bowie Narrates Prokofiev's "Peter and the Wolf" ASIN: B00000424Y Release Date: 1994-08-23

Tracks:

1. Carmen: Children's March
2. Carmen: Toreador Song
3. Carmen: Toreador Chorus
4. The Barber Of Seville: Largo Al Factotum
5. Faust: Soldiers' Chorus
6. Il travatore: Anvil Chorus
7. Madame Butterfly: Humming Chorus
8. Die Walkure: The Ride Of The Valkyries
9. The Tales Of Hoffman: The Doll Song
10. Aida: Triumphal Choruses And March
11. The Magic Flute: Papageno's Song: A Birdcatcher Am I
12. The Magic Flute: Papagena! Papagena! Papagena!
13. The Magic Flute: Pa-Pa-Pa-Pa
14. Hansel And Gretel: Brother, Come Dance With Me
15. Hansel And Gretel: I Am The Little Sandman
16. Hansel And Gretel: Children's Prayer
17. Hansel And Gretel: Song Of The Gingerbread Children
18. Hansel And Gretel: Ral-la-la-la, Ral-la-la-la

Customer Reviews:

Opera for Children.......2005-10-14

This is an excellent CD to introduce children to some of the more familiar operas. I would highly recommend this CD for children and also for adults who want to become familiar with opera.

Great Opera for Children.......2005-05-01

This CD is an excellent compilation of opera for children and adults alike. The operas that are represented on this disc are: Carmen, Il Barbiere di Siviglia, Faust, Il Trovatore, Madama Butterfly, Die Walkure, Les Contes d'Hoffmann, Aida, Die Zauberflote, and Hansel und Gretel. People love the Children's March, as well as the Toreador Chorus, from the opera Carmen. The well known Toreador Song is performed on this CD by great bass- baritone Jose van Dam. Children who watch Bugs Bunny will recognize "Largo al factotum" from Il Barbiere di Siviglia. Sherrill Milnes performs the role of Figaro expertly, and his falsetto is evident in Figaro's famous patter aria. Great choruses, like the Soldier's Chorus from Faust, the Anvil Chorus from Il Trovatore, the Triumphal Chorus from Aida, and the Humming Chorus from Madama Butterfly make appearences on this CD. The Doll Song from Les Contes d'Hoffmann is performed by soprano Joan Sutherland. She uses her voice to rise up and down, like a mechanical doll. My favorite German baritone, Hermann prey, performs Papageno's entrance aria from Die Zauberflote, as well was the duet with Papagena. Choruses from Hansel und Gretel round the CD.

My six-year old liked it!.......2001-04-02

My six year-old son enjoyed hearing this CD. We like to sing together, so we found many of the pieces quite alot. But to be honest, when we discovered the more recently released CD, The Classical Child AT the Opera, he went wild because all the pieces have been translateded into English, so it's much more enjoyable for us to sing along. So I would recommend it, but check out the other one as well -- your kids will be glad you did. All the best, Steven

Fun, accessible opera for you and your child to enjoy.......1999-11-05

I bought this CD for my then 3 year old son. He loved it then because it was the "Bugs Bunny" music he was familiar with from the cartoons. He listened to it for awhile then we put it away. After he turned 4, he said to me one day -- let's listen to opera, and now we listen to this CD every day. This music gets his blood going; he struts around his room when he listens to this. And, he is in every respect a typical boy who likes Pokemon and the Back Street Boys. So, I consider this CD successful in introducing opera to a youngster.

Average customer rating: Wonderful collection and price! Awesome collection! Helicopters? Marines? A great addition to my music collection Quintessential Wagner

Twilight of the Gods: The Essential Wagner Collection Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music National Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music New York Philharmonic Orchestra | ( N ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Wagner: Overture & Preludes The Best Of Wagner Wagner: The "Ring" Without Words Wagner without Words 25 Thunderous Classics ASIN: B000009ON7 Release Date: 1998-08-11

Tracks:

1. The Valkyries: Ride Of The Valkyries
2. Twilight Of The Gods: Siegfried's Funeral March
3. Lohengrin: Prelude to Act III
4. The Flying Dutchman: Overture
5. The Flying Dutchman: Sailors' Chorus
6. The Rheingold: Journey Down To Nibelheim
7. The Mastersingers Of Nuremberg: Overture
8. Tannhauser: Overture
9. Tannhauser: Entry Of The Guests
10. Tannhauser: Tannhauser's Pilgrimage
11. Siegfried: Act III Orchestral Interlude
12. Twilight Of The Gods: Siegfried's Rhine Journey
13. Twilight Of The Gods: Finale
14. The Rheingold: Entry Of The Gods Into Valhalla

Tracks:

1. Lohengrin: Prelude To Act I
2. Lohengrin: Bridal Chorus
3. Parsifal: Prelude to Act I
4. Parsifal: Good Friday Music
5. Parsifal: Transformation Scene
6. Tannhauser: Venusberg Music
7. Tannhauser: Pilgrims Chorus
8. The Mastersingers Of Nuremburg: Prelude To Act III
9. The Rheingold: Vision Of Valhalla (Scene II Introduction)
10. Siegfried Idyll
11. Siegfried: Brunnhildes Awakening
12. Tristan And Isolde: Prelude To Act III
13. Tristan And Isolde: Death Of Isolde

Amazon.com

If you like your Wagner served up in bleeding chunks or if you're simply in a hurry to hear the tunes, then this compilation is for you. The performances, drawn from the Polygram (mainly Deutsche Grammophon) back catalog, are for the most part authoritative. They feature the likes of Herbert von Karajan, with the Berlin Philharmonic, and Karl Böhm, with the Bayreuth Festival Orchestra (and chorus), in extracts from recordings of complete operas, and conductors Giuseppe Sinopoli, Otto Gerdes, and Antal Doráti in some of the more familiar overtures and preludes. Singing, without which it is impossible to get the full flavor of Wagner's work, is skirted whenever possible: this is an unapologetic tribute to Wagner the orchestral genius. At times the salesmanship is a little overblown--the glitzy packaging includes a cover shot of the helicopters from Apocalypse Now--and the sound, some of it from very good originals, seems to have been juiced with a little added digital reverb, resulting in an overall glassiness. The gaps between tracks are minimized, disco style, so there's no dead air, and the whole thing has an Entertainment Tonight feel to it. Were he around, Wagner would have screamed bloody murder, then happily taken his cut of the action. For today's on-the-go listener, this may well be the most practical way to enjoy Wagner's music, but we won't be happy until it motivates at least one newcomer to seek out a recording of a complete opera. Anyone who does that will find out what "apocalypse" really means. --Ted Libbey

Customer Reviews:

Wonderful collection and price!.......2007-05-11

I found this to be a nice collection of favorites, especially to keep in the car and listen to. It is a variety of well known compilations. Although not encompassing, it is perfect as a review for driving, relaxing, and enjoyment. Plus, the price is right!

Awesome collection!.......2007-01-10

This is a great collection of some of Wagner's most memorable songs for those of you who do not want to buy the whole opera's for some of his works.

Helicopters? Marines?.......2006-12-05

Do those infotainment marketing mavens ever get it right? Talk about Hollywood disconnect! Not only are the helicopters irrelevant, but to quote from the gushy drivel on the jacket, "The gripping power of Richard Wagner's music was demonstrated with spectacular effect in...Apocalpse Now, when the "Ride of the Valkyries' became synonymous with the chilling journey of Marine 'Huey' helicopters into battle..."

Marine? Marine? Them Hueys in the movie was ARMY Air Cav, slick! "First of the ninth--air mobile." If you're going to dally down that primrose path, at least get it right.

Better yet, drop the choppers. Most people who listen to Wagner probably realize that quality of an artistic work has a mystically inverse relationship to the number of helicopters contained in it.

As for the music, it is good, but the operatic equivalent of sound bites, which may be just right for people who are new to Wagner or just can't take very much of him. Hmm...perfect for a helicopter ride, perhaps?

A great addition to my music collection.......2006-07-20

This CD takes the place of all my other Wagner music. VERY well done. Somehow I didn't realize that there were two cds in the package--what a pleasant surprise! Of the two cds, I like the first one best, but they are both good. I listen to this cd daily on my way to work. Stirring! I am so glad that I purchased this. Some purists might have a problem with the fact that some of the selections are not there in their entirety. I have no problem with that though. I recommend this to anyone who loves Wagner.

Quintessential Wagner.......2006-05-15

Okay, so I like Wagner. I LOVE "Ride Of The Valkyries". Do I want to go out and buy every single stinkin thing Wagner did? No. If you are a die-hard Wagner fan you probably will not think much of this collection.

But if you like Wagner and appreciate "Ride Of The Valkyries", and maybe require it in just a little more substance than what is included in "Apocolypse Now Redux", then this is what you want. The extra tracks are bonuses and are quite good. Meets my needs, presentation great, performance excellent. I recommend it for anyone that needs a Wagner fix.

Average customer rating: "Leb wohl, Siegmund, seligster Held!" Easily the best investment I've ever made!!! Possibly the greatest recording of the century Wonderful recording - GLARING TECHNICAL ISSUE LORD OF THE RINGS

Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti Sir Georg Solti , Wiener Philharmoniker , Vienna State Opera Choir , Kirsten Flagstad , Paul Kuen , George London , Jean Madeira , Ira Malaniuk , Gustav Neidlinger , and Hetty Plumacher Manufacturer: Decca ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Solti, Sir Georg | ( S ) | Featured Performers, A-Z | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Operettas | Opera & Vocal | Styles | Music Sopranos | Voices | Opera & Vocal | Styles | Music Opera & Vocal | Box Sets | Stores | Music The Decca Records Store | Specialty Stores | Music Similar Items: An Introduction to Der Ring des Nibelungen Wagner's Ring: Turning the Sky Round Wagner: Lohengrin Tristan Und Isolde Wagner: Tristan und Isolde ASIN: B0000042H4 Release Date: 1997-10-14

Tracks:

1. Das Rheingold: Erste Szene: Vorspiel - Prelude
2. Das Rheingold: Erste Szene: Weila! Waga! Woge, du Welle!
3. Das Rheingold: Erste Szene: Garstig glatter glitschriger Glimmer!
4. Das Rheingold: Erste Szene: Wallala! Lalaleia!
5. Das Rheingold: Erste Szene: Lugt, Schwestern!
6. Das Rheingold: Erste Szene: Der Welt Erbe gewann' ich zu eigen durch dich?
7. Das Rheingold: Zweite Szene: Wotan! Gernahl! Erwache!
8. Das Rheingold: Zweite Szene: Sanft schloss Schlaf dein Aug'
9. Das Rheingold: Zweite Szene: Zu mir, Freia! Meide sie, Frecher!
10. Das Rheingold: Zweite Szene: Endlich Loge!
11. Das Rheingold: Zweite Szene: Immer ist Undank Loges Lohn!
12. Das Rheingold: Zweite Szene: Ein Runenzauber zwingt das Gold zum Reif
13. Das Rheingold: Zweite Szene: Hor', Wotan, der Harrenden Wort!
14. Das Rheingold: Zweite Szene: Was sinnt nun Wotan so wild?
15. Das Rheingold: Zweite Szene: Auf, Loge, hinab mit mir! - Dritte Szene: Hehe! hehe! hieher!

Tracks:

1. Die Walkure: Dritte Szene: Schau, du Schelm!
2. Die Walkure: Dritte Szene: Nibelheim hier: durch bleiche Nebel was blitzen dort
3. Die Walkure: Dritte Szene: Nehmt euch in acht! Alberich naht - Sein harren wir hier
4. Die Walkure: Dritte Szene: Vergeh, frevelnder Gauch! - Was sagt der? - Sei doch bei Sinnen!
5. Die Walkure: Dritte Szene: Ohe! Hahaha! Ohe! Hahaha! Schreckliche Schlange
6. Die Walkure: Vierte Szene: Da, Vetter, sitze du fest!
7. Die Walkure: Vierte Szene: Gezahlt hab' ich, nun lasst mich zieh'n!
8. Die Walkure: Vierte Szene: Bin ich nun frei? Wirklich frei?
9. Die Walkure: Vierte Szene: Fasolt und Fafner nahen von fern
10. Die Walkure: Vierte Szene: Gepflanzt sind die Pfahle
11. Die Walkure: Vierte Szene: Weiche, Wotan, weiche!
12. Die Walkure: Vierte Szene: Hort, ihr Riesen! Zuruck, und harret!...Halt, du Gieriger!
13. Die Walkure: Vierte Szene: Schwules Gedunst...Zur Burg fuhrt die Brucke
14. Die Walkure: Vierte Szene: Abendlich strahlt der Sonne Auge
15. Die Walkure: Vierte Szene: Rheingold! Rheingold! Reines Gold! Wie lauter und hell

Tracks:

1. Die Walkure: Erster Aufzug: Prelude
2. Die Walkure: Erster Aufzug, Erste Szene: Wes Herd dies auch sei
3. Die Walkure: Erster Aufzug, Erste Szene: Kuhlende Labung gab mir der Queil!
4. Die Walkure: Erster Aufzug, Zweite Szene: Mud am Herd fand ich den Mann
5. Die Walkure: Erster Aufzug, Zweite Szene: Friedmund darf ich nicht heissen
6. Die Walkure: Erster Aufzug, Zweite Szene: Aus dem Wald trieb es mich fort
7. Die Walkure: Erster Aufzug, Zweite Szene: Ich weiss ein wildes Geschlecht
8. Die Walkure: Erster Aufzug, Dritte Szene: Ein Schwert verhiess mir der Vater
9. Die Walkure: Erster Aufzug, Dritte Szene: Schlafst du, Gast?
10. Die Walkure: Erster Aufzug, Dritte Szene: Wintersturme wichen dem Wonnemond
11. Die Walkure: Erster Aufzug, Dritte Szene: Du bist der Lenz, nach dem ich verlangte
12. Die Walkure: Erster Aufzug, Dritte Szene: Wehwalt heisst du furwahr? - Siegmund heiss ich

Tracks:

1. Die Walkure: Zweiter Aufzug: Prelude
2. Die Walkure: Zweiter Aufzug, Erste Szene: Nun zaume dein Ross, reisige Maid
3. Die Walkure: Zweiter Aufzug, Erste Szene: Der alte Sturm, die alte Muh'!
4. Die Walkure: Zweiter Aufzug, Erste Szene: So ist es denn aus mit den ewigen Gottern
5. Die Walkure: Zweiter Aufzug, Erste Szene: Nichts lerntest du
6. Die Walkure: Zweiter Aufzug, Erste Szene: Was verlangst du?
7. Die Walkure: Zweiter Aufzug, Zweite Szene: Schlimm, fucht ich, schloss der Streit
8. Die Walkure: Zweiter Aufzug, Zweite Szene: Was keinem in Worten ich kunde
9. Die Walkure: Zweiter Aufzug, Zweite Szene: Ein andres ist's: achte es wohl
10. Die Walkure: Zweiter Aufzug, Zweite Szene: O sag, kunde, was soll nun dein Kind?
11. Die Walkure: Zweiter Aufzug, Dritte Szene: Raste nun hier, gonne dir Ruh!
12. Die Walkure: Zweiter Aufzug, Dritte Szene: Hinweg! Hinweg! Flieh die Entweihte!

Tracks:

1. Die Walkure: Zweiter Aufzug, Vierte Szene: Siegmund! Sieh auf mich!
2. Die Walkure: Zweiter Aufzug, Vierte Szene: Hehr bist du, und heilig
3. Die Walkure: Zweiter Aufzug, Vierte Szene: So wenig achtest du ewige Wonne?
4. Die Walkure: Zweiter Aufzug, Funfte Szene: Zauberfest bezahmt ein Schlaf der Holden Schmerz und Harm
5. Die Walkure: Zweiter Aufzug, Funfte Szene: Kehrte der Vater nur heim!

Tracks:

1. Die Walkure: Dritter Aufzug, Erste Szene: Vorspiel - Hojotoho! Hojotoho! Heiaha! Heiaha!
2. Die Walkure: Dritter Aufzug, Erste Szene: Schutzt mich und helft in hochster Not!
3. Die Walkure: Dritter Aufzug, Erste Szene: Nicht sehre dich Sorge um mich
4. Die Walkure: Dritter Aufzug, Erste Szene: Steh, Brunnhild'!
5. Die Walkure: Dritter Aufzug, Zweite Szene: Wo ist Brunnhild', wo die Verbrecherin?
6. Die Walkure: Dritter Aufzug, Zweite Szene: Hier bin ich Vater: gebiete die Strafe!
7. Die Walkure: Dritter Aufzug, Zweite Szene: Wehe! Weh! Schwester, ach Schwester!
8. Die Walkure: Dritter Aufzug, Dritte Szene: War es so schmahlich, was ich verbrach
9. Die Walkure: Dritter Aufzug, Dritte Szene: Nicht weise bin ich, doch wusst' ich das eine
10. Die Walkure: Dritter Aufzug, Dritte Szene: So tatest du, was so gern zu tun ich begehrt
11. Die Walkure: Dritter Aufzug, Dritte Szene: Du zeugtest ein edles Geschlecht
12. Die Walkure: Dritter Aufzug, Dritte Szene: Leb wohl, du kuhnes, herrliches Kind!
13. Die Walkure: Dritter Aufzug, Dritte Szene: Denn einer nur freie die Braut
14. Die Walkure: Dritter Aufzug, Dritte Szene: Loge, hor! Lausche hierher!

Tracks:

1. Siegfried: Erster Aufzug: Vorspiel
2. Siegfried: Erster Aufzug, Erste Szene: Zwangvolle Plage! Mueh ohne Zweck!
3. Siegfried: Erster Aufzug, Erste Szene: Hoiho! Hoiho! Hau ein! Hau ein!
4. Siegfried: Erster Aufzug, Erste Szene: Da hast du die Stucken, schandlicher Stumper
5. Siegfried: Erster Aufzug, Erste Szene: Ais zullendes Kind zog ich dich auf
6. Siegfried: Erster Aufzug, Erste Szene: Vieles lehrtest du, Mime
7. Siegfried: Erster Aufzug, Erste Szene: Einst lag wimmernd ein Weib
8. Siegfried: Erster Aufzug, Erste Szene: Und diese Stucken sollst du mir schmieden
9. Siegfried: Erster Aufzug, Erste Szene: Da sturmt er hin!
10. Siegfried: Erster Aufzug, Zweite Szene: Heil dir, weiser Schmied!
11. Siegfried: Erster Aufzug, Zweite Szene: Hier sitz' ich am Herd und setze mein Haupt
12. Siegfried: Erster Aufzug, Zweite Szene: Was zu wissen dir frommt, solltest du fragen
13. Siegfried: Erster Aufzug, Zweite Szene: Die Stucken! Das Schwert! O weh! Mir schwindelt!
14. Siegfried: Erster Aufzug, Dritte Szene: Verfluchtes Licht!
15. Siegfried: Erster Aufzug, Dritte Szene: Heda! Du Fauler!

Tracks:

1. Siegfried: Erster Aufzug, Dritte Szene: Bist du es, Kind?
2. Siegfried: Erster Aufzug, Dritte Szene: Fuhltest du nie im finstren Wald
3. Siegfried: Erster Aufzug, Dritte Szene: Her mit den Stucken, fort mit dem Stumper!
4. Siegfried: Erster Aufzug, Dritte Szene: Notung! Notung! Neidliches Schwert!
5. Siegfried: Erster Aufzug, Dritte Szene: Hoho! Hoho! Hahei!
6. Siegfried: Zweiter Aufzug: Vorspiel
7. Siegfried: Zweiter Aufzug, Erste Szene: In Wald und Nacht
8. Siegfried: Zweiter Aufzug, Erste Szene: Zur Neidhohle fuhr ich bei Nacht
9. Siegfried: Zweiter Aufzug, Erste Szene: Mit mir nicht, hadre mit Mime
10. Siegfried: Zweiter Aufzug, Erste Szene: Fafner! Fafner! Erwache, Wurm!
11. Siegfried: Zweiter Aufzug, Erste Szene: Nun, Alberich, das schlug fehl
12. Siegfried: Zweiter Aufzug, Zweite Szene: Wir sind zur Stelle!
13. Siegfried: Zweiter Aufzug, Erste Szene: Dass der mein Vater nicht ist

Tracks:

1. Siegfried: Zweiter Aufzug, Zweite Szene: Aber wie sah meine Mutter wohl aus?
2. Siegfried: Zweiter Aufzug, Zweite Szene: Meine Mutter, ein Menschenweib!
3. Siegfried: Zweiter Aufzug, Zweite Szene: Haha! Da hatte mein Lied mir was Liebes erblasen!
4. Siegfried: Zweiter Aufzug, Zweite Szene: Wer bist du, kuhner Knabe, der das Herz mir traf?
5. Siegfried: Zweiter Aufzug, Zweite Szene: Zur Kunde taugt kein Toter
6. Siegfried: Zweiter Aufzug, Dritte Szene: Wohin schleichst du eilig und schlau
7. Siegfried: Zweiter Aufzug, Dritte Szene: Was ihr mir nutzt, weiss ich nicht
8. Siegfried: Zweiter Aufzug, Dritte Szene: Wilkommen, Siegfried!
9. Siegfried: Zweiter Aufzug, Dritte Szene: Da lieg auch du, dunkler Wurm!
10. Siegfried: Dritter Aufzug: Vorspiel
11. Siegfried: Dritter Aufzug, Erste Szene: Wache, Wala! Wala! Erwach
12. Siegfried: Dritter Aufzug, Erste Szene: Stark ruft das Lied

Tracks:

1. Siegfried: Dritter Aufzug, Erste Szene: Dir Unweisen ruf' ich ins Ohr
2. Siegfried: Dritter Aufzug, Zweite Szene: Mein Voglein schwebte mir fort!
3. Siegfried: Dritter Aufzug, Zweite Szene: Wohin, Knabe, heisst dich dein Weg?
4. Siegfried: Dritter Aufzug, Zweite Szene: Kenntest du mich, kuhner Spross
5. Siegfried: Dritter Aufzug, Zweite Szene: Mit zerfochtner Waffe wich mir der Feige?
6. Siegfried: Dritter Aufzug, Dritte Szene: Selige Ode auf sonniger Hoh!
7. Siegfried: Dritter Aufzug, Dritte Szene: Das ist kein Mann!
8. Siegfried: Dritter Aufzug, Dritte Szene: Heil dir, Sonne! Heil dir, Licht!
9. Siegfried: Dritter Aufzug, Dritte Szene: O Siegfried! Siegfried! Seliger Held!
10. Siegfried: Dritter Aufzug, Dritte Szene: Dort seh' ich Grane
11. Siegfried: Dritter Aufzug, Dritte Szene: Ewig war ich, ewig bin ich

Tracks:

1. Gotterdammerung: Prolog: Welch Licht leuchtet dort
2. Gotterdammerung: Prolog: Treu beratner Vertrage Runen
3. Gotterdammerung: Prolog: Es ragt die Burg, von Riesen gebaut
4. Gotterdammerung: Prolog: Zu neuen Taten, teurer Helde
5. Gotterdammerung: Prolog: Willst du mir Minne schenken
6. Gotterdammerung: Prolog: O heilige Gotter!
7. Gotterdammerung: Prolog: Siegfrieds Rheinfahrt
8. Gotterdammerung: Erster Aufzug, Erste Szene: Nun hor, Hagen
9. Gotterdammerung: Erster Aufzug, Erste Szene: Wen ratst du nun zu frein
10. Gotterdammerung: Erster Aufzug, Erste Szene: Jagt er auf Taten wonnig umher
11. Gotterdammerung: Erster Aufzug, Zweite Szene: Wer ist Gibichs Sohn?
12. Gotterdammerung: Erster Aufzug, Zweite Szene: Begrusse froh, o Held
13. Gotterdammerung: Erster Aufzug, Zweite Szene: Willkommen, Gast, in Gibichs Haus!

Tracks:

1. Gotterdammerung: Erster Aufzug, Zweite Szene: Deinem Bruder bot ich mich zum Mann
2. Gotterdammerung: Erster Aufzug, Zweite Szene: Bluhenden Lebens labendes Blut
3. Gotterdammerung: Erster Aufzug, Zweite Szene: Frisch auf die Fahrt!
4. Gotterdammerung: Erster Aufzug, Zweite Szene: Hier sitz' ich zur Wacht
5. Gotterdammerung: Erster Aufzug, Dritte Szene: Altgewohntes Gerausch
6. Gotterdammerung: Erster Aufzug, Dritte Szene:Hore mit Sinn, was ich dir sage!
7. Gotterdammerung: Erster Aufzug, Dritte Szene: Welch banger Traume Maren
8. Gotterdammerung: Erster Aufzug, Dritte Szene: Was leckt so wutend
9. Gotterdammerung: Erster Aufzug, Dritte Szene: Brunnhild'! Ein Freier kam

Tracks:

1. Gotterdammerung: Zweiter Aufzug: Vorspiel
2. Gotterdammerung: Zweiter Aufzug, Erste Szene: Schlafst du, Hagen, mein Sohn?
3. Gotterdammerung: Zweiter Aufzug, Zweite Szene: Hoiho, Hagen! Muder Mann!
4. Gotterdammerung: Zweiter Aufzug, Zweite Szene: Heiss mich willkommen, Gibichskind!
5. Gotterdammerung: Zweiter Aufzug, Dritte Szene: Hoiho! Hoihohoho!
6. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Heil dir, Gunther!
7. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Gegrusst sei, teurer Held
8. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Einen Ring sah ich an deiner Hand
9. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Heil'ge Gotter, himmlische Lenker!
10. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Helle Wehr! Heilige Waffe!
11. Gotterdammerung: Zweiter Aufzug, Vierte Szene: Gunther, wehr deinem Weibe
12. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Welches Unholds List liegt hier verhohlen?
13. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Vertraue mir, betrogne Frau!
14. Gotterdammerung: Zweiter Aufzug, Funfte Szene: Auf, Gunther, edler Gibichung!

Tracks:

1. Gotterdammerung: Dritter Aufzug: Vorspiel
2. Gotterdammerung: Dritter Aufzug, Erste Szene: Frau Sonne sendet lichte Strahlen
3. Gotterdammerung: Dritter Aufzug, Erste Szene: Ein Albe fuhrte mich irr
4. Gotterdammerung: Dritter Aufzug, Erste Szene: Was leid' ich doch das karge Lob?
5. Gotterdammerung: Dritter Aufzug, Erste Szene: Siegfried! Siegfried! Siegfried!
6. Gotterdammerung: Dritter Aufzug, Zweite Szene: Hoiho!
7. Gotterdammerung: Dritter Aufzug, Zweite Szene: Trink, Guenther, trink!
8. Gotterdammerung: Dritter Aufzug, Zweite Szene: Mime hiess ein murrischer Zwerg
9. Gotterdammerung: Dritter Aufzug, Zweite Szene: In Leid zu dem Wipfel lauscht' ich hinauf
10. Gotterdammerung: Dritter Aufzug, Zweite Szene: Brunnhilde, heilige Braut!
11. Gotterdammerung: Dritter Aufzug, Zweite Szene: Trauermusik beim Tode Siegfrieds
12. Gotterdammerung: Dritter Aufzug, Dritte Szene: War das sein Horn?
13. Gotterdammerung: Dritter Aufzug, Dritte Szene: Hoiho! Hoiho!
14. Gotterdammerung: Dritter Aufzug, Dritte Szene: Nicht klage wider mich!
15. Gotterdammerung: Dritter Aufzug, Dritte Szene: Schweigt eures Jammers
16. Gotterdammerung: Dritter Aufzug, Dritte Szene: Starke Scheite schichtet mir dort
17. Gotterdammerung: Dritter Aufzug, Dritte Szene: Mein Erbe nun nehm' ich zu eigen
18. Gotterdammerung: Dritter Aufzug, Dritte Szene: Fliegt heim, ihr Raben!

Amazon.com essential recording

Modern storage media (CD/DVD) offer both high fidelity and great reliability in the playback of music. Yet only a bit more than a generation ago, the possibilities inherent in the long-playing record inspired John Culshaw, a young producer for Decca, to attempt the most ambitious recording project ever contemplated up to that time--a complete studio recording of the Ring. Though other Rings were issued after this landmark enterprise, none have equaled the Decca Ring in popularity. There are those who prefer live performances, or who feel that the sound and theatrical effects in this recording are overdone; nonetheless this remains the benchmark Ring, as shown by its seemingly endless rerelease schedule. The Ring effort was high profile at the time and helped nail down Sir Georg Solti's status as a "superstar" conductor and authoritative interpreter of the Wagnerian repertory. Another key contributor to the success of the project was the uniform excellence in the casting. Definitive performances given include Neidlinger's nietzschean Alberich, Stolze's whining Mime, Boehme's rumbling Fafnir, along with Nilsson in her prime-more a force of nature than a human voice. The care lavished on the capture of the music was unmatched at the time of the recording, and still leaves this as one of the best sounding Rings even today, when the oldest part (Rheingold) has reached its 40th anniversary. --Christian C. Rix

Customer Reviews:

"Leb wohl, Siegmund, seligster Held!".......2007-05-15

Okay, so we have the Solti, Bohm, Karajan, Goodall, Boulez, Janowski, Levine, Haitink, and Sawallisch Rings on the market (I haven't listened to the other Ring recordings yet, sorry to say). And all of these leave me to one conclusion: the many differences lead me to believe that all of these ring sets have their own authenticities and setbacks. And here they are:

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.

Easily the best investment I've ever made!!!.......2006-09-07

Solti is a true Wagnerian!!! There is truly no one better! In every single Wagner recording under his baton (under the fantastic engineering of the Decca label), there is a power, intensity, and ethereal quality that rings true from first note to last. This studio recording of the Ring Cycle is probably his strongest effort. Virtually every nuance that Wagner desired is apparent, from echoes, to characterizations, to instruments used (the steer-horns in Gotterdammerung). All of his singers are nothing short of the best, especially Hotter, Windgassen, and Nilsson (all of whom are sadly not around any longer). They do everything they can to help Solti bring Wagner's deepest conceptions to life. It's a shame that this performance wasn't filmed. The only thing missing is the visual aspect, but that's a very minute matter, when dealing with a top-notch recording like this one. It pulls the listener in, like he's there, experiencing the story with the likes of Wotan, Siegmund, Siegfried, and Brunnhilde. The package is also an excellent bonus, full of very informative liner notes, as well as set designs and beautiful drawings by the great Arthur Rackham. I paid $120 for this box set, brand new, but I would've gladly paid double that, if necessary. I don't know what I would do without this recording. (If you're feeling dangerous, as I have, try listening to the whole thing, with a nice comfortable set of headphones, with only the occasional bathroom breaks and eating/drinking to stay alive. If you can endure such an intense task, you will not regret it, but make sure you follow every word. Everything counts.) 100 stars!!!

Possibly the greatest recording of the century.......2006-08-17

Ever since the reopening of the Bayreuth Festival in 1951, the operatic world has been blessed with many Ring recordings that are brimming with life and searing in interpretation. The work is certainly the most ambitious and fascinating musical epic ever set on paper, and due to its intricate music and magnificent and poetic text, it has influenced the way music making has been done ever since the Master presented it to the world in 1876. Now, 130 years after that first Ring cycle, the market abounds with hordes of Ring recordings raging from magnificent to deplorable, and with the cost of having to contain such a grand epic in recordable media for the listener to enjoy at home, the pricetags for these Rings are always going to be astounding.

A Ring cycle in the recording studio, of course, is no longer a foreseeable possibility today. The recent Tristan by EMI alone took a good month in the recoring studio, and with the increasingly high wages in the musician's union and the expensive fees needed to pay competent and artistic Wagnerian singers, another Ring in the studio would probably be a Herculean task at best. And, to add to that, the world is sorely lackiing of hochdramatische sopranos, true heldentenors, and great bass-baritones to sing the parts of the cycle's most difficult roles--Brunnhilde, Siegfried, and Wotan. The dearth of these species of voices, plus the scarcity of conductors who can masterfully lead an orchestra into playing one of the most complicated scores ever written in the true Wagnerian style, makes these matters more complicated. In my opinion, only Christian Thielemann can possibly execute this vision effectively today. Due to this, in order to be able to experience this monumental opus, you must turn to the recordings of the past to sample the greatness of Richard Wagner.

I personally feel that the greatest Rings come from the postwar Wieland Wagner Bayreuth festivals. Under his leadership, a calibre of Wagner singing was formed and has been unmatched ever since his premature death from lung cancer. With a team that consisted of chorus master Wilhelm Pitz, singers Astrid Varnay, Hans Hotter, Wolfgang Windgassen, Ramon Vinay, Gustav Neidlinger, Gre Brouwenstijn, Martha Modl, and later Birgit Nilsson, Martti Talvela, James King, Leonie Rysanek, and other singers who owned these roles in the Theatre on the Green Hill, plus a plethora of conductors that consisted of Herbert von Karajan, Hans Knappertsbusch, Clemens Krauss, Joseph Keilberth, and Rudolf Kempe (all conductors who by some divine intervention all had last names beginning with "K"), Wieland Wagner unveiled a new and fresh way of Wagner interpretation along with a team of singers and musicians who made this great music sing.

Some people though, would much prefer the music in the undisturbed, almost pristine conditions achieved by the recording studio. While there are several Der Ring des Nibelungen that have come out of recording halls following this one, none of them have matched it in popularity. And there is a reason for that of course. Solti leads the Wiener Philharmoniker in a recording that brings the theatrical values of Wagner's operas to the comfort of the living room without the stage noises and other distractions that some listeners seem to detest. In addition to that, the care put into immortalizing this Ring in recording media has made it one of the most "real"-sounding performances on disc. Here, you get the steerhorns and tuned anvils and metal bars that Wagner personally requested to be put into the score, in addition to other sound effects that would be impossible to realize in the theater. You can hear the violent thunder in the opening of Act III of Siegfried and the closing scene of Rheingold. I could go on about all these little details, but I leave that for you to witness yourself.

That said about its realistic audio qualities, I would like to discuss the merits of Solti's conducting. It is true that while Solti had a heavy hand in this recording in comparison with conductors such as Karajan, Krauss, Bohm, and Boulez who exuded transparency in their readings, he brings everything in the score to life. He understands Wagner's score well, and his reading is closer to Knappertsbusch on a good day, a method that harkens the traditional way of conducting Wagner. He also has good judgment as to where tempi changes must be made, as can be heard from the closing scene of Das Rheingold. The orchestration during Donner's "Heda Hedo!" is simply ravishing, and the tempi that Solti uses and adjusts to sounds dramatically right. Wagner himself would have been proud. His understanding of the more complex and post-Tristan scores of Siegfried and Gotterdammerung are still unparalleled today. From the Mime Wanderer riddle scene to the Forging song to the Wotan Erda confrontation and the glorious love duet that ends the opera, Solti gets all the orchestral nuances perfectly. His Siegfried is so alive, that any recording after that can be considered below par. But if there was ever one recording that deserved the praise this Ring receives, it has to be Solti's Gotterdammerung. From the haziness of the Norn scene to the Dawn love duet and the Gibichung hall music, and the Waltraute Brunnhilde dialogue, I think Solti captures this Act perfectly. Act 2 is done well too, with Gottlob Frick's menacing Hagen and Neidlinger's definitive Alberich creating a most sinister mood accompanied by Solti's masterly conducting. The revenge trio that caps the act is perfectly executed by the Vienna Philharmonic, and I think that if it were not for the presence of Knappertsbusch's recent Testament release with Varnay and Uhde, this would also probably be the best Act II on disc. Then we have Act III, the culmination of the Ring cycle. From the chattering of the Rhinemaidens to Siegfried's death and funeral march to the glorious Immolation Scene, I think this Act III represents Wagner's music at its greatest, and no other recording captures the essence of the final moments of the Ring with all its synthesis of the various leitmotifs in such a moving manner. This is, perhaps, the best conducted Ring of the studios, and on a good day, I would feel exceeds that of the Bayreuth rings. (Hey! I have my Wagner whims too, and on some days, I if tend to have a preference for Krauss, Karajan, Knappertsbusch, or Bohm...that is my preference! Chacun a son gout!)

Now for the cast. I have never seen such a glorious cast assembled in the recording studio such as this, and everything from Neidlinger's Alberich, Nilsson's Brunnhilde, Hotter and London's Wotans, Windgassens's Siegfried, Flagstad's Rheingold Fricka and Ludwig's Walkure Fricka, Hoffgen's Erda, King's Siegmund, Crespin's Sieglinde, Frick's Hagen and Hunding, Bohme's characterful Fafner, Sutherland woodbird, Stolze's Mime, and the chattery and lusty Walkures, Norns, and Rheinmaidens is simply a vocal treat. That said, these individual singers' solo performances can be heard to greater advantages elsewhere, but nowhere are they captured better vocally than here. Of course, some singers such as Hotter are no longer in their prime, but what a magnificent performance he gives! His Wotan is so grand and noble that I think that the only Wotan who beats him is his younger self. Nilsson's Brunnhilde is a force of nature. Her missile-like voice is fascinating, encompassing Brunnhilde's vocal music with such ease that one would think Brunnhilde was a walk in the park. She is hands-down one of the greatest Brunnhildes ever, along with Astrid Varnay and Martha Modl. Siegfried here is sung by Windgassen, the tenor who single-handedly solved Bayreuth's heldentenor shortage for more than a decade. His voice, of course, has aged, but he is such an intelligent artist that one cannot help but listen to his Siegfried artistically portrayed without any vocal problems that today's many Siegfrieds encounter. James King is a most moving Siegmund, surpassed only by his Bohm interpretation and possibly Ramon Vinay on a good day, and his Sieglinde, Regine Crespin, is one of the most female and human singers ever to have brought the role to life. Christa Ludwig is the most sumptuous Fricka and Waltraute on disc, combining her great vocal beauty with her consummate artistry. Her singing here is nothing short of definitive. The Walkures are all great, the cast including two future Brunnhildes: Helga Dernesch and Berit Lindholm. The supporting cast of giants is also very good, with Kurt Bohme as a most characterful Fafner. I think that the Fasolt could have been sung better though. The Norns also consist of some of the most famous singers of the Wagnerian oeuvre, some of them taking the great roles in the years to come. Hoffgen sings Erda magnificently. My only quibble here is the casting choices used for Rheingold's Rheintochters. They sound a bit old. They characterize their characters playfully, but one could wish that Solti had used the maidens singing for Karajan or Bohm's recording. Otherwise, the cast is almost flawless.

Must this be your first Ring? With the care lavished on such a great project (Culshaw's attention to the miniscule details in the score), Solti's wonderful conducting, and a cast that truly represents the golden age of Wagner, I would say, this is an essential recording for anyone's collection. It is possibly the greatest achievement in the recording studio, and in many ways, the greatest recording of the century.

Wonderful recording - GLARING TECHNICAL ISSUE.......2006-06-03

Fine recording, good performance, historical in scope and a great box set. HOWEVER:

Being a musician and an opera fan, as well as being a recording engineer, I own several releases of this particular collection of recordings by London/Decca. The original recording of Das Rheingold (the first set of CDs in this boxed set of operas) dates back to the late-1950s, and stands as a landmark achievement in audio recording, especially considering that it is the first EVER complete studio recording ever made of Das Rheingold. First released on vinyl and reel-to-reel tapes in the late-50, this recording has been re-released countless times in several formats, including an excellent mid-1970s release on Dolby-B encoded reel-to-reel tape.

The CD collection has a glaring, horrible problem that I do not see mentioned ANYWHERE in these Amazon blogs, and it shocks me that no other musicians have noticed: THE ENTIRE OPERA "DAS RHEINGOLD" IN THIS COLLECTION IS OFF PITCH!! PITCH FOR THE ENTIRE OPERA IS NEARLY A SEMITONE SHARP!! NEARLY A SEMITONE!!!!!! Historically, there is an explanation for this. From my understanding of the issue, the recording was made in Vienna on American Ampex tape machines that were shipped to London/Decca for the purpose. The tape machines used synchronous motors that were erroneously not adjusted to compensate for the difference in line frequencies between the U.S. and Europe, and therefore the tape machines ran fractionally slow. Play the master tapes back on a tape machine running at the correct speed, and the master recording plays FRACTIONALLY FAST.

None of the earlier releases of this opera that I have ever heard share this issue, since all submasters of the recording would have been adjusted to compensate for the original technical error, and the adjustment done properly in the analog realm has absolutely no negativerepurcussions on the product outcome.

The CD collection portends to have returned to the original master, and that may be the issue. Nonetheless, why hasn't anyone with music knowledge raised the red flag about this egregious error in the CD release?? Why doesn't anyone notice?? I even attempted to write London/Decca about the issue and have received no reply.

Most people with good pitch will recognize when a recording is 75-80 cents (nearly a semitone) sharp!! If you are a musician, you will not be happy with Das Rheingold in this collection, due to the glaring pitch problem. A true pity, and shame on London/Decca.

LORD OF THE RINGS.......2006-03-31

This recording is the Lord of the all ring cycles...I can't say anything else...No need to explain it like you are writing a novel or talking about a legend...You have to experience it...JUST DO IT

This review can't help you...Only listening and God can help you with this stuff...

Can EL

Average customer rating: A "Die Walkure" for the AGES from a "RING for the AGES" A Memorable Performance! Nostalgic Pleasure AN EPIC RING - PART II I'm Overwhelmed!

Wagner: Die Walküre Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Blowout Box Sets | Classical Music Blowout | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Wagner, Richard | ( W ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Wagner: Siegfried Wagner: Das Rheingold Wagner: Götterdämmerung Wagner: Der Fliegende Holländer Peter Lieberson: Neruda Songs ASIN: B000FILUMY Release Date: 2006-06-13

Tracks:

1. Die Walkure: Prelude (Vorspiel) (Act One)
2. Wes Herd dies auch sei (Act One, Scene One)
3. Kuhlende Labung gab mir
4. Mud am Herd fand ich den Mann (Act One, Scene Two)
5. Friedmund darf ich nicht heissen
6. Aus dem Wald trieb es mich fort
7. Ich weiss ein wildes Geschlect (Hunding)
8. Ein Schwert werhiess mir der Vater (Siegmund) (Act One, Scene Three)
9. Schlafst du, Gast? (Sieglinde/Siegmund)
10. Wintersturme wichen dem wonnermond (Siegmund)
11. Du bist der Lenz
12. Wehwalt heisst du furwahr? (Sielinde/Siegmund)

Tracks:

1. Prelude (Vorspiel) (Act Two)
2. Nun zaume dein Ross (Wotan/Brunnhilde) (Act Two , Scene One)
3. Der alte Sturm (Wotan/Frica)
4. So ist es denn aus mit den weigen Gottern (Frica)
5. Nichts lerntest du
6. Was verlangst du? (Wotan/Fricka/Brunnhilde)
7. Schlimm, furcht' ich, schloss der Streit (Brunnhilde/Wotan) (Act Two, Scene Two)
8. Was keinem in Worten ich kunde
9. Ein andres ist's (Wotan/Brunnhilde)
10. O sag/, kunde (Brunnhilde/Wotan)
11. Raste nun hier (Act Two, Scene Three)
12. Hinweg! Hinweg ! (Siegmund/Sieglinde)

Tracks:

1. Siegmund ! Sieh' auf mich! (Act Two, Scene Four)
2. Hehr bist du, und heilig gewaht'ich
3. So wenig achtest du ewige Wonne? (Brunnhilde/Siegmund)
4. Zauberfest bezahmt ein Schlaf(Siegmund)(Act Two, Scene Five)
5. Kehrte der Vater nur heim ! (Sieglinde/Hunding/Siegmund/Brunnhilde/Wotan)

Tracks:

1. Prelude - Hojotoho! Hojotoho! (Die acht Walkuren)
2. Schuzt mich und helft (Brunnhilde/Die acht Walkuren) (Act Three, Scene One)
3. Nicht sehre dich Sorge um mich (Sieglinde/Brunnhilde/Waltraute/ortlinde/Die acht Walkuren
4. Steh, Brunnhild'! (Wotan/Die acht Walkuren/Brunnhilde)
5. Wo is Brunnhild' (Wotan/Die acht Walkuren) (Act Three, Scene Two)
6. Hier bin ich, Vater (Brunnhilde/Wotan)
7. Wehe ! Weh'! Schwester (Die acht Walkuren/Brunnhilde/Wotan)
8. War es so schmahlich (Act Three, Scene Three)
9. Nicht weise bin ich
10. So tatest du
11. Du zeugtest ein edles Geschlect (Brunnhilde/Wotan)
12. Leb wohl, du kuhnes, herrliches Kind !
13. Denn einer nur freie die Braut
14. Loge, hor! Lausche hieher ! (Wotan)

Amazon.com

"Best" is an overused word, and particularly difficult to apply to performances of operas as huge and multifaceted as Wagner's. There are now dozens of Walküres available on CD, and most have much to recommend them. This one, part of a live Bayreuth Ring recorded in real stereo by the Decca recording crew in 1955 but never before released, is just about ideal: all of the singers, absolute golden-age-of-Wagner-singing performers, are in their prime. Ramon Vinay's baritonal Siegmend is both powerful and sympathetic; Gré Brouwenstijn's Sieglinde is wonderfully womanly, though occasionally troubled by a prominent vibrato; Josef Greindl's Hunding is a character to fear. Hans Hotter's Wotan is flawless---his sadness and tenderness are as vividly expressed as his rage and, thanks to the always- alert and dramatically intelligent leadership of Joseph Keilberth, his confrontation with the imperious Fricka of Georgine von Milinkovic has the ring of absolute honesty. Astrid Varnay's Brünnhilde is here caught at its best--utterly secure at all registers, girlish and impetuous but loving, a true powerhouse. The Valkyries are a noisy but accurate bunch. The Bayreuth Orchestra plays as if possessed---the trilling flutes in the "Ride," wonderfully captured by the engineers, add to the thrill. The "best"? Well, absolutely remarkable. --Robert Levine

Customer Reviews:

A "Die Walkure" for the AGES from a "RING for the AGES".......2007-06-19

This recording of Wagner's "Die Walkure" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Die Walkure" choices on disc (possible exception: Leinsdorf/Nilsson/Vickers). As do the remaining three operas, also recorded at the same time, by the same cast, that make up the "Ring".

Going back over the decades of my life, I remember when you only had one choice for a "Ring"...Solti/Decca, and that was it.

Then, there came the von Karajan, and then the Bohm/Bayreuth. Then, there seemed to be a mini-explosion of "Rings" over the following years, so many that it became/becomes staggering to think about!

Two statements:
1) If you are NEW to Wagner's "Ring" do not become confused with all the choices out there. There are really only two live recordings you need consider...the Krauss/Bayreuth, and this one, Keilberth/Bayreuth, and one studio recording to think about, the Solti/Decca set. You may think this excessive, but you NEED all three of these recordings. Period.
2) If you are FAMILIAR with Wagner's "Ring", then, assumably, you want the Best recording of it. I will assume you already have the Solti set, as most people do. The Krauss set you may or may not have. It is a stunner. And, now, the Keilberth....the most awesome recording, in many ways, you will ever experience.

Think: 1955, live, Bayreuth, the Best Wagnerians of their age, assembled together at the behest of Wagner's grandsons, in Wagner's theater, and the best part....recorded in STEREO! By Decca, of all people, before the Solti studio Ring was ever thought about! Why Decca sat on these magnificent recordings just blows my mind.

Luckily for us, Testament acquired the rights to release these timeless recordings, and we now, after 52 years, can marvel at and enjoy these magnificent performances of four of the greatest musical masterpieces ever written, combining to make up the most monumental work ever written for the stage! Enjoy this (set) of Masterpiece Recordings! ~operabruin

A Memorable Performance!.......2007-02-05

Rarely does a release live up to its hype, but the Testament release of the 1955 Ring from Bayreuth is one that does. This CD is jam-packed with incredible performances from one of the best casts assembled in the post-war era. Ramon Vinay gives a magnificent performance as Siegmund--and I really like his rich baritonal timbre. (In fact, he began and ended his career as a baritone.) He sings with intelligence, sensitivity and passion. Gre Brouwenstijn gives an surprisingly (for her) ardent account of Sieglinde and Josef Griendl is a wonderfully malevolent Hunding.
The two stars of the show are clearly Hans Hotter as Wotan and Astrid Varnay as Brunnehilde. Hotter was probably the leading heldenbaritone of the 20th century, and there really is no one better as Wotan. Others may have richer and fuller voices, but few are as good singing actors as was Hotter. Varnay is a revelation. If Birgit Nilsson was said to have a voice like burnished steel, Varnay, (who was one of Nillson's closest friends in the business), has a darker, richer instrument that gives her portrayal more "humanity", if one can use that word about a god's daughter! (She's also incredible on the "Siegfried" CD and don't miss her Tristan und Isolde with Ramon Vinay.) Known to many of my generation only through her later "character" mezzo roles, she is enjoying a renaissance now through these incredible releases from the mid-50s, the height of her career.
Joseph Keilberth conducts with drive and energy, and he gets ample support from the Bayreuth orchestra. The sound quality is remarkable for that time, (and in stereo, no less), and although the price is a bit steep, if one buys it from one of the dealers that sell on Amazon one can save quite a bit.
It may not be the "best" Ring cycle, but it's right up there and a wonderful opportunity to hear some of the last 50 years' top Wagnerian artists in their prime.

Nostalgic Pleasure.......2007-01-21

It is almost a dream come true. Imagine Krauss' or Kna in stereo sound, the celebrated 53 or 56 versions, Imagine Solti but the singers all in their prime, especially Hotter. This is a dream come true. And to make things even better, everyone seems to be singing and playing their heart out. I have to admit, Krauss is a great interpreter orchestrally, as is Solti, but in terms of singing, this goes to the top of my list and I must say overalll is now at the top. Along with Siegfried, which is even better than this, this should be the greatest ring ever released, either in stereo or not. Though only issue is the price, which is absurd, how could they charge 100 dollars for three opera and 46 for a preliminary evening, that is 346 for the entire cycle which is just about out of everyone's price range-especially when you can now get Krauss at 45, Solti at 150, etc, etc, it is a hard sell to convince someone that it is that much better. I cant say it is 200 dollars better than Solti and it is not 300 better than Krauss---but for those, like me, always searching for something new in the ring, this is like discovering the holy grail.

AN EPIC RING - PART II.......2007-01-10

This WALKURE is a must just to hear Hans Hotter and Astrid Varnay in their prime and in very good early stereo. In the Solti WALKURE one must admit Hotter was past his prime. I love his sound as Wotan and especially his attention to musical as well as textual details. HE IS WOTAN and at his peak and prime here. Astrid Varnay is right there with him all the way. They make Acts Two and Three so very special and sublime. Varnay to my ears is an ideal Brunnhilde sound. In my humble opinion she is second to only Helen Traubel as a beautiful sounding and singing Brunnhilde. The rest of the cast is right there with these two TITANS. Only, Gre Brouwenstijn, the Sieglinde with her tight vibrato could be bettered. There are several other stronger Sieglindes then her (i.e. Nilsson, Crespin, Borkh, Rysanek to name a few.) Some others have expressed a little concern over the conducting. After a second and third listening I don't wholeheartedly agree. When he has to Keilberth turns up the tension especially in Acts II and III. I look forward to Gotterdammerung and Varnay's Brunnhilde.

I'm Overwhelmed!.......2006-12-22

A few days after purchasing the great "Rheingold" in this series, I bought this Walkure. I am so glad that I did! I must have been listening to this opera for over 44 years,but I have never heard a better one, perhaps not even one as good as this. Keilberth continues his glorious conducting that began in "Rheingold", sensitive at every point, energetic but always inward-looking,capturing the mystery as well as the high emotion of the score. His First Act Prelude, for example, is paced at exactly the right tempo to suggest a raging thunderstorm. The whole act is shrouded in darkness,only to have light intrude when Nothung becomes visible to Siegmund. The great Wotan monologue in Act 2 is so suspenseful that I doubt that anyone could call this section of the opera dull; on the contrary, as in any good "Walkure", this should emerge as the turning point of the whole drama, which it does here. Wotan's Farewell and the Magic Fire Music never were more deeply moving than here. Vinay's Siegmund is simply glorious, a real Heldentenor voice, sensitively sung. Brouwenstijn's Sieglinde sounds a bit like Lotte Lehmann's in its intensity. Greindl's Hunding is not just menacing,he's outright dangerous! A primitive man who could erupt in physical violence at any moment! I look forward to his Hagen. Milinkovic's Fricka is divinely outraged here, as in "Rheingold", the Valkyries are not only exhuberant,but superbly disciplined. But even above this high level lie the real stars, Varnay's Brunnhilde and Hotter's Wotan. Varnay is at her most brilliant and secure self here, and Hotter ranges from deep despair to uncontrollable wrath, with the most secure singing ever heard from him during this period of his career. The recorded sound is as superb as in the "Rheingold", but there are two instances of pitch fluctuation (end of Act 1 and in Act 3, at Wotan's (In festem Schlaf"). Curiously, Varnay's "Soll fessendem Schlaf" loses the stereo effect and is heard in mono, but quickly reverts to stereo at the beginning of the Farewell. I suppose those were to be expected in an early, live stereo recording. For me,these are minor caveats. No doubt about it, this is THE Walkure and bodes the same for this Ring as a whole. Forget the expense and just get it! I can hardly wait for the rest!
I'd like to add a few words about Astrid Varnay's performance. She delivers the most spellbinding "Todesverkuendigung" Scene ever. She begins absolutely majestically and implacably, stern and impersonal in her delivery of Siegmund's fate, then gradually undergoes the most convincing transformation to a compassionate and ultimately rebellious daughter that I have ever experienced. The same goes for Hotter, turning from optimism over his plan succeeding to utter dismay and finally despair when Fricka pulls out the rug from under him. I cannot fathom the sheer stupidity of John Culshaw in vetoing the issue of this Ring.

Average customer rating: A well-kept secret Essential Wagner Excellent Wagner from a surprising source ... or maybe not! Go For Boult Memorable and dramatic- A must have for Wagner fans

Wagner: Overtures & Preludes Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Similar Items: Wagner: Tristan und Isolde/Parsifal/Die Meistersinger Von Nürnberg/Lohengrin/Tannhäuser The Best Of Wagner Wagner: The "Ring" Without Words Twilight of the Gods: The Essential Wagner Collection Mussorgsky: Pictures at an Exhibition ASIN: B000002S08 Release Date: 1992-09-29

Tracks:

1. Tannher: Overture
2. Tannher: Grand March
3. Der Fliegende Holler: Overture
4. Tristan und Isolde: Prelude to Act 1
5. Tristan und Isolde: Prelude to Act 3
6. Die Meistersinger von Nurnberg: Overture
7. Die Meistersinger von Nurnberg: Prelude to Act 3
8. Lohengrin: Prelude to Act 1

Tracks:

1. Lohengrin: Prelude to Act 3
2. Parsifal: Prelude to Act 1
3. Parsifal: Act 1 Transformation scene
4. Parsifal: Prelude to Act 3
5. Parsifal: Good Friday Music
6. Das Rheingold: Entrance of the Gods
7. Die Walkure: Ride of the Walkyries
8. Siegfried: Forest murmurs
9. Gotterdammerung: Siegfried's Rhine Journey
10. Gotterdammerung: Siegfried's Funeral March

Customer Reviews:

A well-kept secret.......2007-05-18

Everyone wants to have a crack at the "bleeding chunks" eventually, and while I love the flashier Stoky and Furtwangler approach, I wouldn't want to be without the Boult. He's a great Wagnerian, strange as it may seem. Who could blame him for not wanting to go down in history merely as the finest Holstian? As long as this stays in print, Ormandy will still be considered the least sexy conductor. (I heard CBS researchers found an Ormandy fan once!)

Essential Wagner.......2006-06-17

As a child, this set was my first experience of Wagner's music, and it made quite an impression on me. However, as I grew older and began to collect the full operas I felt I could surely do better than Adrian Boult and the British for a collection of the preludes, overtures, and orchestral music from the operas. I was wrong. I have yet to here any recordings that can match the power and intensity as demonstrated in these discs from Boult and the LSO (and LPO). The Meistersinger prelude alone is worth the price, and the only version of the prelude to Tristan which outdoes the one here is Bohm's live 1966 Tristan. The Solti, Karajan, and Klemperer highlight discs have their moments (and truthfully, I do prefer Solti and Karajan for the "Ring" highlights), but their contributions are greatest in the full operas, and overall, they simply can't muster the power and intensity that Boult brings to these preludes, overtures, etc.

Even if you have other compilations of Wagner's music in "bleeding chunks", I can assure you they don't come close to this one; and with two discs (the second containing mostly music from Parsifal and the "Ring") at 14 bucks, there is absolutely no excuse not to have this essential recording. So go ahead and buy this disc, never buy another Wagner compilation again, and with the money you save get started on the more important task at hand: the full operas.

Excellent Wagner from a surprising source ... or maybe not!.......2004-09-27

Does Sir Adrian Boult conjure up of images of Gustav Holst and Ralph Vaughn Williams, but not Wagner? You're not alone! Nevertheless, this is a double CD set not to be missed! Many years ago, I was listening to a classical radio music station in NYC that was playing the music of Wagner. The performance was so good, that I wouldn't leave the radio until I found out the name of the conductor. When the announcer said the conductor was Sir Adrian Boult, I was quite surprised. I had recordings of English music from Sir Adrian on Angel/EMI, but I never associated that conductor with Wagner. Having been blessed with a friend who had knowledge of classical music way beyond his years, I gave him a call to find out more about the recording. He told me that, Boult had solid expertise in the area of Germanic music, but, in England, had been overshadowed in that repertoire by Otto Klemperer. He told me not to be surprised about Boult's very fine Wagner, it was an excellent recording to purchase and, indeed, search out Sir Adrian's wonderful performance of Beethoven's Fifth Symphony (now available on Vanguard). Fast-forward many years and I find myself browsing through Amazon for a recording of Wagner's Overtures and Preludes. Like everyone else I know, I foolishly jettisoned my LPs in the 1990s and have been "back-filling" ever since. Well, I was able to obtain this splendid set for less than $7 per CD! There are a total of 18 selections covering most of Wagner's operas including five excerpts from the Ring Cycle. The performances are excellent coming from no less than three British orchestras, and the sound is top-shelf EMI. Sir Adrian's pacing is measured and his vision is broad and sensitive, highlighting the beauty and grandeur --rather than just the fire-- of this glorious music. I heartily recommend this two-CD set, and at this price, I think it's a steal.

Go For Boult.......2003-07-08

Sir Adrian Boult is best known for his recordings of the British repertoire, and his performances, particularly of Holst's "The Planets" and Elgar's Symphonies and Orchestral Works, are legendary. But Boult was also an excellent conductor of Beethoven, Brahms and Wagner, and this 2-CD set collects the Overtures and Preludes of the latter German titan. These stereo recordings from the early to mid-1970s with the New Philharmonia Orchestra, and London Philharmonic and Symphony Orchestras are truly first rate. EMI's set compares nicely in terms of price, quality and musical offerings with competing sets by DG (Bohm, Kubelik, et al) and Sony (Ormandy & Szell). You might have reservations about getting German music conducted by a Brit, but you really can't go wrong with Boult.

Memorable and dramatic- A must have for Wagner fans.......2000-03-20

I bought this cd for the following reasons: 1 I'm a Wagner fan, 2 the cover looks exquisite and 3 I wanted to hear a "prelude" since it sounds fancy and never heard one. The result is great cd. The Tannhauser overture, Tristan and Isolde prelude and Lohengrin Prelude to act 3 are all very excellent. Excerpts from the Ring of the Nibelunge aren't as good as I had anticipated but are still enjoyable. The music speaks the tales of Wagner's operas. Just hear it, as slow and irksome as they maybe, these preludes make you feel the tragic love of Tristan and Isolde, the epic odyssey of Lohengrin and the holy, heavenly spirit in Parsifal as he discovers the Holy Grail. Buy this CD and you won't regret it. Except that one bit from Gotterdammerung, Siegfried's Funeral March. It does'nt quite have the feel of grand disaster as it did in John Boorman's film Excalibur. If you're hoping to find that version(which is better) stick with the Classics Go To The Movies Vol 2 cd. But all the other pieces on this CD are excellent. Go and buy this CD- now !

Average customer rating: A disappointment "The Ring without Words" is really "The Ring without Pauses . . . " The best synthesis of orchestral music from the Ring Could have been a fun ride, but... Decent, though not ideal; fulfills the original intent

Wagner: The "Ring" Without Words Manufacturer: Telarc ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Berlin Philharmonic Orchestra | ( B ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music Similar Items: Wagner without Words Twilight of the Gods: The Essential Wagner Collection Wagner: Overture & Preludes Verdi without Words: Grand Opera for Orchestra The Best Of Wagner ASIN: B000003CUJ Release Date: 1990-10-25

Tracks:

1. Thus, We Begin In The 'Greenish Twilight' Of The Rhine
2. Float Up To The Home Of The Gods (Entrance Of The Gods Into Valhalla)
3. Fall Amongst Hammering Dwarfs 'Smithying' Away
4. Ride Donner's Thunderbolt, Crawl With The Thirst-Crazed Siegmund To The Haven...
5. In The Sound Code, We 'See' His Loving Gaze
6. Their Flight
7. Wotan's Rage
8. The Cavalcade Of Brde's Sisters, (Ride Of The Valkyries)
9. Wotan's Farewell To His Favorite Daughter, (Wotan's Farewell And Magic Fire Music)
10. Mime's Fright
11. Siegfried's Forging Of The Magic Sword
12. His Wanderings Through The Forest, (Forest Murmurs)
13. His Slaying Of The Dragon
14. The Dragon's Lament
15. Day Breaking 'Round Sigfried's And Brde's Passion
16. Siegfried's Rhine Journey, (Dawn And Sigfried's Rhine Journey)
17. Hagen's Call To His Clan
18. Siegfried And The Rhinemaidens
19. His Death And The Funeral Music, (Siegfried's Death And Funeral Music)
20. Immolation. (Immolation Scene)

Customer Reviews:

A disappointment.......2007-04-20

Being a Wagnerite is sometimes a little difficult. Wagner's music is demanding on practically all levels, and especially demanding to the casual listener. The music can sometimes be too sugary, way overblown, or deceptively muted. This can definitely present problems, and that is why there are those who can detest Wagner's works to the degree that others love it. There is little middle room: Love or hate, Wagner's music is unique...and difficult.

This CD brings out another difficulty: The attempt to tone down Wagner and make his work more generally acceptable. On the good side, this CD is a rather good compilation of some of the Ring's most important melodies. Its symphonic structure allows good flow between the rather disjoint work, and the idea works to a significant degree.

But Maazel's approach is to create a uniformity of interpretation on a work that took more than 20 years to complete. This uniformity saps the Ring of much of its musical strength. The standard pieces are played almost the same as the other selections; little differentiation is evident and as a result only minor aspects of the drama in this incredible music drama are revealed.

While it is possible to play Wagner's music poorly, I always thought it was equally possible to at least grasp its passion. Unfortunately, Maazel's approach proves me to be wrong.

Yes, being a Wagnerite can be very difficult.

"The Ring without Words" is really "The Ring without Pauses . . . ".......2006-07-25

Even Wagner had the good sense to construct his monumental "Ring" Cycle as four distinct operas! So when Loren Maazel got the idea to record a "Ring without Words," what was so important about making it one long movement? No one knew better than Wagner the emotional impact of a well-placed fermata or a crash-bang finale, but this spark of genius seems to have eluded Maazel in his obsession to keep the musical Rhine flowing from beginning to end non-stop for 67 minutes. What seems at first to be a really novel idea starts to break down early on when we begin to anticipate the throbbing final pages of "Das Rheingold," only to discover that for the sake of seamlessness, the whole dramatic passage is skipped over by an awkward leap from Donner's thunder into the depths of "Die Walkure!" Other cuts can be forgiven considering time limitations, although there is still room for ten more minutes of music on the CD. Edo de Vaart gives us something more on his "Ring" recording, since he has no fear of finales. Otherwise, Maazel's handing of the score is quite exciting, and the Vienna Philharmonic is totally responsive to his every gesture. Here's a good idea for some future recording, one I'd certainly buy and which would appeal to thousands of other "Wagnerites" like myself: why not a four-movement "Ring Without Words" across two CDs, with every possible voiceless note from the pen of the Master, one opera after the other?

The best synthesis of orchestral music from the Ring.......2006-07-12

If you're looking for a single CD of orchestral music from Wagner's Ring, I'd like to recommend this one. Here's why.

Wagner's tetralogy Der Ring des Nibelungen contains some of the most magnificent, most stirring, most imaginative music ever written (along with some that's pedestrian and dull; there are glorious moments, splendid peaks, and there are arid stretches, longeurs that make one wish that Wagner the supreme egotist had submitted his work to the judgment of a good editor). The four operas comprising it are Das Rheingold (1869), Die Walkure (1870), Siegfried (1876), and Gotterdammerung (1876). Taken together they form the towering masterwork and crowning achievement of Wagner's maturity. They are also immensely long: about 17 hours.

The problem has always been to extract the best parts of the Ring for satisfactory concert presentation. The Ring does not make this easy: it contains no conventional overtures or preludes, no conveniently extractable bits. Thus various hands ever since Wagner's day have carved out "bleeding chunks," with mixed results, and the practice has always been controversial.

This CD presents a different approach. In order to make this recording---to quote the Wagner expert in Third Ear: Classical Music: The Listener's Companion (ed. Alexander J. Morin, 2002; an excellent book, by the way)---"Maazel decided to create his own vast symphonic suite from the Ring, and he has toured with it around the world. . . . If you want to hear the best parts of the Ring without sitting down to 17 hours or so, this is your best bet." I agree. Maazel's 70-minute symphonic synthesis of the best music from the Ring has a consistency, an integration and seamless flow, an organic rightness lacking in other Ring orchestral-highlights programs, with their "bleeding chunks" approach. Also, Maazel's suite gives a better idea of the scope and variety of the Ring, of its full range of colors and sonorities, than the standard orchestral excerpts.

Let Maazel describe his priorities in putting his suite together: "I was intrigued by the challenge: could a symphonic synthesis of the Ring reveal the essentials? I bolted the following list of criteria to my drawingboard: One: the synthesis must be free-flowing and chronological, beginning with the first note of Rheingold and finishing with the last chord of Gotterdammerung. Two: the transitions must be harmonically and periodically justifiable, the pacing contrasts commensurate with the length of the work. Three: most all of the music originally written for orchestra without voice must be used, adding those sections with a vocal line essential to a synthesis . . . . Four: every note must be Wagner's own. . . . Though no conscious attempt was made to include all the Ring's motifs, most of them do surface in one form or another."

The result as represented on this CD is eminently satisfactory. Maazel is a seasoned Wagner conductor, and has conducted the complete Ring at Bayreuth and elsewhere. The Berlin Philharmonic is one of the world's great orchestras. Both it and Maazel are in top form here: the performance is idiomatic and assured, sweeping and eloquent, played to the hilt, bristling with authority and conviction. I hope I'm not being fanciful in finding that listening to the whole suite straight through yields a kind of catharsis. The sound is robust, full-bodied, with wide dynamic range, with solid weight and impact. Telarc's engineers have done a commendable job of coping with the problematic acoustics of Berlin's Philharmonie; this is probably just about the best sound that can be extracted from that vexed venue.

The recording was made in Dec. 1987. Total playing time is 69:40 (broken out as follows: Das Rheingold 14:47, Die Walkure 12:42, Siegfried 6:15, and Gotterdammerung 36:33; if this seems to give short shrift to Siegfried, it has always been musically the weakest of the four operas).

In short, it's hard to imagine a better orchestral introduction to the glories of the Ring. The virtues of this CD move it to the top of its class: highly recommended.

Could have been a fun ride, but..........2005-10-01

Decades ago, Leopold Stokowski popularized opera for the general public through "symphonic syntheses." These included Wagner's Ring, Triastan, and Boris Godunov, to mention those I've heard and enjoyed. I was prepared to enjoy Maazel's modern update and expected a fun ride through the gorgeous sonorities of Wagner's score.

Not much enjoyment resulted, however. Maazel is superficial, often ponderous, and much too roughshod with this pastische. It can't all be crash and bang. So I threw the CD away and hope a few others won't make the mistake I did.

Decent, though not ideal; fulfills the original intent.......2005-04-27

In having read the other reviews of this CD, I think many individuals failed to take note of the original intent behind this CD coming about in the first place. Lorin Maazel was commissioned by the recording company (Telarc) to come up with an arrangement of the prime orchestral excerpts of the "Ring," and his 4-step approach listed in the booklet, makes it abundantly clear that NOT ALL of the music commonly heard on other recordings of the orchestral music from the "Ring," would be heard in this arrangement. Also, it is to be inferred that Maazel knows, and obviously doesn't expect his arrangement to take the place of ANY complete recording of the "Ring."

I heard Maazel conduct his arrangement live with the National Symphony Orchestra of Washington, DC last year. Before that concert, I had never listened to this recording, but I knew about it. So I had the advantage of going into the concert with a fresh mind.

I came out of the concert with the feeling that others before me expressed -- that some of the transitions between familiar excerpts were smooth, some so-so, and others rather clunky. I think Maazel would be the first to admit that he was more successful in some areas of his arrangement, and not as successful in others. So be it. Wagner is tough for anyone and everyone delving into the complete operas, whatever their command of German and musical/orchestral principles.

So, my rating and review of this recording is confined to Maazel's task at hand. I give his effort four stars. Most of this "grade" is confined to the arrangement itself. I give the orchestral playing five stars.

Average customer rating: Movie Themes CD "three decades of film composers ~ Simply The Best"

Simply the Best Movie Themes Manufacturer: Rhino / Wea ProductGroup: Music Binding: Audio CD Quintets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by J.S. Bach | Bach, Johann Sebastian | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Górecki, Henryk Mikolaj | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schifrin | Schifrin, Lalo | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Schubert | Schubert, Franz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sibelius | Sibelius, Jean | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Kamen | Kamen, Michael | ( K ) | Featured Composers, A-Z | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Classical | Symphonies | Forms & Genres | Classical | Styles | Music Romantic | Symphonies | Forms & Genres | Classical | Styles | Music Tone Poems | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music Variations | Forms & Genres | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music General | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Vocal & Song | Baroque (c.1600-1750) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Vocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Vocal & Song | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Rhino Records | Amazon.com Label Stores | Stores | Music Similar Items: Great Movie Love Themes: Five Star Collection Hollywood's Greatest Hits, Vol. 2 Hollywood's Greatest Hits, Vol. 1 Paramount 90th Anniversary Collection: Scores The Wings of a Film: The Music of Hans Zimmer ASIN: B0001CNRL6 Release Date: 2004-02-24

Tracks:

1. Theme From Mission Impossible - Schifrin
2. Theme From Gladiator - Zimmer
3. Hedwig's Theme - Williams
4. Harry's Wondrous World - Williams
5. Allegro Moderato - Symphony No. 8 'Unfinished' - Schubert
6. Suite From Shakespeare In Love - Warbeck
7. Out Of Africa - Barry
8. Requiem, Rex Tremendae - Mozart
9. Prelude In E Minor, Op. 28, No. 4 - Chopin
10. Suite No. 3 In D, Air On The G String - J.S. Bach
11. I Will Always Love You - Parton
12. Symphony No. 40, Molto Allegro - Mozart
13. Finlandia - Sibelius
14. My Heart Will Go On - Horner

Tracks:

1. Theme From Lord Of The Rings - Shore
2. Overture To All That Jazz - Kander & Ebb
3. 'Trout' Quintet, Theme, Andantino And Variations - Schubert
4. Prelude No. 15 In D-Flat - Chopin
5. Windmills Of Your Mind - LeGrand
6. (Everything I Do) I Do It For You - KAMEN
7. Theme From Schindler's List - Williams
8. Also Sprach Zarathustra, Excerpt - Strauss
9. Symphony No. 3, Lento Cantabile - Semplice - Gorecki
10. Die Walkure, Ride Of The Valkyries - Wagner
11. Goldberg Variations, Aria Da Capo - J.S. Bach
12. Theme From License To Kill - KAMEN
13. Sonata No. 8, Op. 13, 'Pathetique,' Andante Cantabile - Beethoven
14. Die Another Day - Arnold
15. Symphony No. 9, Ode To Joy, Excerpt - Beethoven

Customer Reviews:

Movie Themes CD.......2007-03-10

Very nice CD with beautiful music from past movies. Very relaxing music to listen to.

"three decades of film composers ~ Simply The Best".......2004-03-06

Rhino Movie Music presents "Simply The Best Movie Themes", featuring the Royal Philharmonic Orchestra and other various artists ~ within the realm of the following composers David Arnold, John Barry, Alan Bergman, Marilyn Bergman, Wendy Carlos, Fred Ebb, James Horner, James Newton Howard, Michael Kamen, John Kander, Michel Legrand, Alex North, Basil Poledouris, Howard Shore, Wladyslaw Szpilman, Stephen Warbeck, John Williams and Hans Zimmer ~ each composer has created one or more of the scores in this twenty nine classic line up.

Film scores covering over three decades with "2001:SPACE ODYSSEY", "A CLOCKWORK ORANGE", "APOCALYPSE NOW", "THE BODYGUARD(I Will Always Love You)", "CHICAGO(Overture to All That Jazz), "DIE ANOTHER DAY", "EYES WIDE SHUT", "FEARLESS", "GLADIATOR(Theme)", "HANNIBAL", "HARRY POTTER AND THE SORCERER'S STONE(Hedwig's Theme)", "HARRY POTTER AND THE SORCERER'S STONE(Harry's Wondrous World)", "THE HUNT FOR RED OCTOBER", "JURASSIC PARK:THE LOST WORLD", "LICENSE TO KILL, "LIVING DAYLIGHTS", "THE LORD OF THE RINGS(Theme)", "MINORITY REPORT", "MISSION IMPOSSIBLE (Theme)", "OUT OF AFRICA", "THE PIANIST", "ROBIN HOOD, PRINCE OF THIEVES", "SCHINDLER'S LIST", "SE7EN", "SHADOWLANDS", "SHAKESPEARE IN LOVE", "THE SIXTH SENSE", "THE THOMAS CROWN AFFAIR"and "TITANIC(My Heart Will Go On)" ~ a mixture of original compositions and classics of the old masters. Loaded with not just themes, but full of orchestral arrangements that are fresh and rewarding ~ sure to bring back those special moments from the film.

The presentation is superb with every cue inclusive with spectacular performances from suspense, romance and adventure all rolled into a two disc package. Rhino must be commended on doing such a great job and doing it well. Most serious "film-score-buffs" will welcome this compilation, has many cues available all under one banner ~ Rhino Records...gotta love it!

Total Time: 2-CD-Set ~ Rhino/Warner Classics 78061 ~ (2/24/2004)

Average customer rating: An excellent classical CD A hidden diamond Wagner's Grandeur Ormandy is underrated! Excellent Recordings

The Best Of Wagner Manufacturer: RCA ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Twilight of the Gods: The Essential Wagner Collection Wagner: Overtures & Preludes Wagner: Overture & Preludes Wagner without Words Wagner: Tristan und Isolde/Parsifal/Die Meistersinger Von Nürnberg/Lohengrin/Tannhäuser ASIN: B000003F4J Release Date: 1991-06-06

Tracks:

1. Die Meistersinger: Prelude
2. Die Walkure: Ride Of The Valkyries
3. Lohengrin: Bridal Chorus
4. Siegfried: Forest Murmurs
5. Gotterdammerung: Dawn & Siegfried's Rhine Journey
6. Die Walkure: Magic Fire Music
7. Tristan und Isolde: Liebestod

Customer Reviews:

An excellent classical CD.......2007-01-28

Richard Wagner rightly deserves his high reputation as a classical musician. Like many people, I don't care for Wagner's racial or religious views, but don't let that stop you from enjoying his music. The CD starts off with my favorites the Prelude from Die Meistersinger & Ride of the Valkyries from Die Walkure, followed by a fascinating rendition of the Bridal Chorus (a.k.a. "Here Comes the Bride") from Lohengrin. I won't recite the rest of the list, but there are 4 other compositions, all somewhat varied in style, but very good. Whether you are classical music buff or simply want an introduction to classical music this CD is a good place to start.

A hidden diamond.......2001-10-03

This unassuming budget classic reissue is among the finest of its genre: The Wagner orchestral highlight album, and features the contents of 1973 LP recital the farthest thing from run-of-the-mill, spaciously recorded with the palpable feeling of the presence of the musicians, not merely an amorphously gorgeous orchestral sonority. The music unfolds without self-indulgent pointing, in a free-wheeling manner that is simply right.

The original Ormandy program is supplemented with a track by Robert Shaw doing a luscious rendering of the famous Bridal Chorus from with his divine women's chorus, a version as good or better than any ever anthologized or appearing in complete opera recordings, its 1959 atmospherically recorded sound barely showing its age.

My only caveat is that this stuff really merited more respectful packaging than this ersatz "Best of" series, but at the price, who should complain?

Wagner's Grandeur.......2001-08-24

Wagner was a great composer. His music and use of orchestra are grand and masterful. I am repulsed by his political views, but as an artist he was a genius. This compilation of Wagner is probably the best there is. I listen to it from time to time. The breadth of the orchestral palette, the elevation, and grandeur have been imitated but never duplicated.

Ormandy is underrated!.......2001-02-08

I did a test by listening to Szell, Klemperer, Karajan, Kubelik, Bohm, Jochum, Gerdes, Ozawa, Stokowski, and Ormandy play Wagner overtures and excerpts from "The Ring". My verdict: it's Ormandy. What can I say? I feel as is he's underrated, especially in the annals of Wagner worship. I like Stokowski's energy, but he plays around with scores (horrors!) too much. The Szell was great, but a tad limp. Other conductors have their high points, but Ormandy ranks consistently at the top. His conducting is full and rich and the orchestra always sounds great. I ranked the Szell orchestral music from Wagner at 5 stars, so Ormandy rates 6 stars.

Excellent Recordings.......2000-11-08

The selections performed by the Philadelphia Orchestra under Ormandy are excellent. One of the best. Highly Recommended.

Meditation Music:

1. Wagner: Great Orchestral Music from "The Ring"
2. Wagner / Nilsson, Knappertsbusch, Vienna Philharmonic Orchestra
3. Wagner: Overtures
4. Wagner: Tristan und Isolde
5. Wallace - Maritana / M. Cullagh · L. Lee · P.C. Clarke · I. Caddy · RTE Phil. · O'Duinn
6. Wiener Staatsoper Live, Vol.22
7. A Night at the Opera: A Mozart Gala
8. Alfredo Kraus / Las Mejores Arias, Rigoletto, El Barbero De Sevilla
9. Arlecchino
10. Bartok: Bluebeard's Castle

Meditation Music

meditation music

Meditation Music

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36D

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