Richard Wagner: Das Rheingold (Part 1 of The Ring Of The Nibelungen)

1. Das Rheingold (The Rhine Gold), opera, WWV 86a Vorspiel
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   Conducted by Bernard Haitink
   
   
2. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 1. Weia! Waga!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with Susan Quittmeyer, Julie Kaufmann, Sylvia Herman
   Conducted by Bernard Haitink
   
   
3. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 1. Hehe! ihr Nicker!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with Susan Quittmeyer, Julie Kaufmann, Sylvia Herman, Theo Adam
   Conducted by Bernard Haitink
   
   
4. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 1. Garstig glatter glitsch'riger Glimmer!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with Susan Quittmeyer, Julie Kaufmann, Sylvia Herman, Theo Adam
   Conducted by Bernard Haitink
   
   
5. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 1. Lugt, Schwestern!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with Susan Quittmeyer, Julie Kaufmann, Sylvia Herman, Theo Adam
   Conducted by Bernard Haitink
   
   
6. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 1. Bangt euch noch nicht?
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with Susan Quittmeyer, Julie Kaufmann, Sylvia Herman, Theo Adam
   Conducted by Bernard Haitink
   
   
7. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. (Orchester)
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   Conducted by Bernard Haitink
   
   
8. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Wotan, Gemahl! erwache!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with James Morris, Marjana Lipovsek
   Conducted by Bernard Haitink
   
   
9. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Vollendet das ewige Werk!
   Composed by Richard Wagner
   Performed by Bavarian Radio Symphony Orchestra
   with James Morris, Marjana Lipovsek
   Conducted by Bernard Haitink
   
   
10. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. So schirme sie jetzt
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Marjana Lipovsek, Eva Johansson
    Conducted by Bernard Haitink
    
    
11. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Sanft schloß Schlaf dein Aug
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Hans Tschammer, James Morris
    Conducted by Bernard Haitink
    
    
12. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Schweig' dein faules Schwatzen
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Hans Tschammer, James Morris, Eva Johansson
    Conducted by Bernard Haitink
    
    
13. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Zu mir, Freia!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Hans Tschammer, Peter Seiffert, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
14. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Halt, du Wilder!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Marjana Lipovsek, Eva Johansson
    Conducted by Bernard Haitink
    
    
15. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Wie? welchen Handel hätt' ich geschlossen?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Peter Seiffert, James Morris, Heinz Zednik, Marjana Lipovsek, Hans Tschammer, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
16. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Immer ist Undank Loge's Lohn! / Umsonst sucht' ich
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Peter Seiffert, James Morris, Heinz Zednik, Marjana Lipovsek, Hans Tschammer, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
17. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Was ein Dieb stahl
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, James Morris, Heinz Zednik, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
18. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Hör', Wotan, der Harrenden Wort!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Peter Seiffert, James Morris, Heinz Zednik, Eva Johansson, Hans Tschammer, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
19. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Was sinnt nun Wotan so wild?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Peter Seiffert, Andreas Schmidt, Heinz Zednik, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
20. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 2. Auf, Loge! hinab mit mir!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Peter Seiffert, Andreas Schmidt, James Morris, Heinz Zednik, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
21. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Hehe! hehe!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Theo Adam, Peter Haage
    Conducted by Bernard Haitink
    
    
22. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Nibelheim hier
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Heinz Zednik, Peter Haage
    Conducted by Bernard Haitink
    
    
23. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Wer hälfe mir!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Heinz Zednik, Peter Haage
    Conducted by Bernard Haitink
    
    
24. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Hierher! Dorthin!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Theo Adam
    Conducted by Bernard Haitink
    
    
25. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Was wollt ihr hier?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
26. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Habt Acht! Habt Acht!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
27. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Riesenwurm winde sich ringelnd!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
28. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. Luge der her!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
29. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 3. (Orchester)
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    Conducted by Bernard Haitink
    
    
30. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Da, Vetter, sitze du fest!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
31. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Wohlan, die Niblungen rief ich mir nah'
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam
    Conducted by Bernard Haitink
    
    
32. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Gezahlt hab' ich
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Theo Adam, Heinz Zednik
    Conducted by Bernard Haitink
    
    
33. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Bin ich nun frei?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Theo Adam
    Conducted by Bernard Haitink
    
    
34. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Lauschtest du seinem Liebesgruß?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Peter Seiffert, Andreas Schmidt, James Morris, Heinz Zednik
    Conducted by Bernard Haitink
    
    
35. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Bring'st du gute Kunde?
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Hans Tschammer, Peter Seiffert, Andreas Schmidt, Heinz Zednik, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
36. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Auf Reisenheims ragender Mark
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Peter Seiffert, James Morris, Heinz Zednik, Marjana Lipovsek, Hans Tschammer, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
37. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Freia, die schöne
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Peter Seiffert, James Morris, Heinz Zednik, Marjana Lipovsek, Eva Johansson, Hans Tschammer, Andreas Schmidt
    Conducted by Bernard Haitink
    
    
38. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Weiche, Wotan!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Jadwiga Rappe, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
39. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Hört, ihr Riesen!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Andreas Schmidt, Eva Johansson
    Conducted by Bernard Haitink
    
    
40. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Zu mir, Freia!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris
    Conducted by Bernard Haitink
    
    
41. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Halt, du Gieriger!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Kurt Rydl, Hans Tschammer, James Morris, Heinz Zednik
    Conducted by Bernard Haitink
    
    
42. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Was gleicht, Wotan
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Heinz Zednik, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
43. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Schwüles Gedünst schwebt in der Luft
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Andreas Schmidt
    Conducted by Bernard Haitink
    
    
44. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Zur Brug führt die Brücke
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Peter Seiffert
    Conducted by Bernard Haitink
    
    
45. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Abendlich strahlt der Sonne Auge
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with James Morris, Marjana Lipovsek
    Conducted by Bernard Haitink
    
    
46. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Ihrem Ende eilen sie zu
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Heinz Zednik
    Conducted by Bernard Haitink
    
    
47. Das Rheingold (The Rhine Gold), opera, WWV 86a Scene 4. Rheingold! Rheingold!
    Composed by Richard Wagner
    Performed by Bavarian Radio Symphony Orchestra
    with Susan Quittmeyer, James Morris, Julie Kaufmann, Sylvia Herman, Heinz Zednik
    Conducted by Bernard Haitink
    
    

Richard Wagner: Das Rheingold (Part 1 of The Ring Of The Nibelungen),Richard Wagner,Bernard Haitink,Bayerischen Rundfunkorchester,Bayerischen Rundfunks Sinfonie-orchester,Symphonie Orchester des Bayerischen Rundfunks,Julie Kaufmann,Heinz Zednik,Andreas Schmidt,Eva Johansson,Hans Tschammer,Jadwiga Rappe,James Morris,Kurt Rydl,Marjana Lipovsek,Peter Haage,Peter Seiffert,Susan Quittmeyer,Sylvia Herman,Theo Adam,Capitol,Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: An AWESOME "Rheingold" from a "RING" for the Ages! Age defying performance. What a find! The Bayreuth 1955 Ring Cycle by Testament About that "hissing noise"...

Wagner: Das Rheingold Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | 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 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: Die Walküre Wagner: Siegfried Wagner: Götterdämmerung Wagner: Der Fliegende Holländer Wagner - Gotterdammerung ASIN: B000J20D6A Release Date: 2006-12-12

Tracks:

1. Prelude
2. Weia! Wega!
3. Garstig Glatter Glitsch'riger Glimmer
4. Wallala! Wallala! Lalaleia! Lalaleia!
5. Lugt, Schewestern!
6. Der Welt Erbe
7. Wotan, Gemahl, Erwache!
8. Sanft Schlob Schlaf Dein Aug'
9. Zu Mir, Freia!
10. Endlich Loge!
11. Immer Ist Undank Loges Lohn!
12. Eini Runezauber Zwingt Das Gold Zum Reif
13. Hor, Wotan, Der Harrenden Wort!
14. Was Sinnt Nun Wotan So Wild?
15. Jetzt Fand Ich's

Tracks:

1. Auf, Loge, Hinab Mit Mir!
2. Schau, Du Schelm!
3. Nibelheim Hier
4. Nehmt Euch In Acht!
5. Vergeh', Frevelnder Gauch!
6. Ohe! Ha Ha Ha!
7. Da, Vetter, Sitze Du Fest!
8. Gezahlt Hab'ich
9. Bin Ich Nun Frei?
10. Fasolt Und Fafner Nahen Von Fern
11. Gepflanzt Sind Die Pfahle Nach Pfandes Mab
12. Weiche, Wotan; Weiche!
13. Hort, Ihr Riesen!
14. Schwules Gedunst
15. Abendlich Strahlt Der Sonne Auge
16. Ihrem Ende Eilen Sie Zu
17. Rheingold! Rheingold! Reines Gold!

Amazon.com

This, the third installment in the first stereo Ring (once thought lost), from the stage of the Bayreuth Festival in 1955, is as impressive and crucial to any collection as the previously released Siegfried and Die Walküre. Joseph Keilberth, whose devotion to Wagner was so great that he died conducting the second act of Tristan, leads an incredibly tight performance--almost jaunty in its storytelling. The opening chord, depicting the Rhine, is not played softly as marked; it does rather plunge us into the action with more energy than usual. The singing is universally remarkable. Hans Hotter's Wotan towers in its snideness and potency, while the Fricka of Georgine von Milinkovic is more subtle and alluring than we're accustomed to. Gustav Neidlinger's Alberich is, as on so many other recordings in which he sings this role, something to reckon with--a despicable but wretched character. The giants of Ludwig Weber and Josef Greindl have probably never been bettered; Paul Kuen's Mime is articulate and creepy and Rudolf Lustig's Loge is wily and clearly, cleanly sung. The only stain on this recording is the dreadful hissing noise given off by something called a "Mixtur-Trautonium," an electronic device invented to simulate the sound of the Nibelungs' anvils in Nibelheim. It's a distraction, but it can be lived with. This set is a must-have, and the extraneous noise during that scene is small price to pay for a performance this thrilling. --Robert Levine

Customer Reviews:

An AWESOME "Rheingold" from a "RING" for the Ages!.......2007-06-19

This recording of Wagner's "Das Rheingold" 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 "Das Rheingold" choices on disc. 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

Age defying performance........2007-05-07

Never let the age of this recording deter you. It is vibrant. It is alive. The companion Götterdämmerung is even a little harsh - it adds to the primordial nature of the people. This performance is astounding. Hotter, whose contributions to the Solti Ring and some other later recordings were tremulous and far beyond prime, is here absolutely the god he should be. His voice alone conveys that, but what he does with it shows why he was the Wotan of choice for so long. Gustav Neidlinger is his foil - Alberich. He is just as malevolent as in Solti, but he is even fresher of voice. That can be said of all singers in the entire cycle. A telling scene in this recording is the natural flow of the Nibelheim scene. It is a conversation, so natural and easy that one hardly notices that Loge is maneuvering the conversation.

To those who have no Ring, this is an excellent choice. to those who own the Solti Ring, Karajan Ring, or whomever, this is a wonderful alternative. I was amazed at the quality of the sound. Why only 4 stars? Well, in the later music dramas, Walküre and Siegfried, Keilberth takes tempi that would allow those two operas to be on three CDs each. But they spread them over four CDs. At the Testament price, that gets very expensive.

What a find!.......2007-03-22

What a find this recording is! Along with others in this "Ring" series, Keilberth's performance adds invaluably to what we know about the Bayreuth performing tradition. As a conductor, Keilberth has at times been underrated by reviewers, but this "Ring" cycle is putting his detractors to shame. Like Kempe, he has an ability to propel the score in ways that are hard to define; without projecting himself as a "personality", he brings the music marvellously alive. And it happens that, looking back, one finds him at the center of many memorable productions; a "Freischutz" from the late fifties, a "Barber of Seville" from around the same time, and, much earlier still, a "Turandot" with Maria Cebotari that is astonishing. The other main revelation, in these "Ring" recordings, is the crystalline, beautiful sound. Many of the essays in early stereo--RCA's records with Reiner in Chicago, Decca's recordings in Vienna or EMI's in England--have a propensity to be more detailed and attractive than later recordings. Ever wonder why? This is not the place to try answering, but it's clear that Keilberth's 1955 "Ring" takes its honored place among that group, and bids fair to become--at least in my experience--the most glorious-sounding set of records ever.

The Bayreuth 1955 Ring Cycle by Testament.......2007-03-08

I now have the four disc sets in this series of the Ring. Three I've bought at Amazon, after realizing the pricing was much better here than at Borders where I bought the first.
All are excellent recordings. Truly top notch, though not inexpensive.
If the Ring Cycle is music you enjoy, I highly recommend this set with it's excellent musicians and singers.

About that "hissing noise"..........2007-02-22

It begins at about 1 hour 8 minutes in, and continues for about 25 minutes. It's undoubtedly annoying - like really bad tape hiss. But at *no* point does it (even slightly) obscure the voices of Hotter & Neidlinger etc. at their absolute peak, in (otherwise) excellent sound.

Anybody who dismisses this remarkable set simply because of that is just missing the forest for the trees. But if you're in doubt, all you have to do is listen to the audio samples that Amazon has so helpfully provided: those for Disc 2, tracks 2 through 6 show off the "hissing noise" at its worst.

For whatever it's worth, I think that those who are kicking up a fuss over said "hissing nose" are being more than a bit silly. And I can't help wondering whether they could deal, even for a moment, with the much more severe audio compromises required to appreciate the incomparable recorded interpretations of Frida Leider & Lauritz Melchior & Friedrich Schorr.

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: 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: Great Cover Szell's Magical And Terrific Wagner Album Fabulous Wagner! Szell has not fallen! Precise, clinical performances in dated sound

Wagner without Words Manufacturer: Sony 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 | 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 CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music $6.99 and Under | 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 Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Wagner: The "Ring" Without Words Twilight of the Gods: The Essential Wagner Collection Rossini: Overtures Verdi without Words: Grand Opera for Orchestra Opera without Words ASIN: B000002763 Release Date: 1991-07-01

Tracks:

1. Das Rheingold: Entrance Of The Gods Into Valhalla
2. Die Walkure: Ride Of The Valkyries
3. Die Walkure: Magic Fire Music
4. Siegfried: Forest Murmurs
5. Gotterdammerung: Dawn - Seigfried's Rhine Journey
6. Gotterdammerung: Siegfried's Funeral Music - Final Scene
7. Tristan And Isolde: Prelude - Love-Death
8. Die Meistersinger: Prelude To Act I

Customer Reviews:

Great Cover.......2007-06-06

This same album has had at least 2 identical incarnations except for the cover art. So if you have bought some of his Wagner orchestral suites before, beware and be aware! You just may be making a redundant purchase. This version has by far the best cover artwork.

I have several of Wagner's Orchestral suites lps (Szell, Stokowski, Klemperer, Ormandy, Karajan) They all sound just peachy, so do not ask me to choose based on the music. I like the Stokowski best merely because it is on the great sounding Phase 4 label plus it has art work similar to this Szell cd and it has substantial liner notes. But as far as the music goes, a pair of Klemperers/Szells will just about beat any hand.

If you are new to Wagner, this is a wonderful intro. Then you can rent some of his music drama operas thru Netflix and take advantage of the best thing since sliced bread, English subtitles.

If you are looking for the Wagner symphony section at Amazon, there aint any! These orchestral suites are as close as you will get. Look instead to his disciples, Bruckner for symphonies and Richard Strauss for symphonic poems.

Szell's Magical And Terrific Wagner Album.......2007-05-21

This was Cleveland's most prominent condutor, the late George Szell's only Wagner album. True, he was at home conducting the music of Beethoven, Brahms, Mozart, Dvorak and all the brand-name, top classical music, but he was, at the same time, a gifted interpreter of Wagner. While Szell's name is not mentioned in the same sentence as Herbert Von Karajan nor was he a conductor of opera, this album showcases the skill and artistry he achieved while conducting the score to Wagner's most important operas - The Ring of the Nibelungen and Tristan and Isolde. The Cleveland Orchestra is at the height of its powers and the music you will hear on this album overflows with passion, dignity, grandeur and beauty, all the elements that Wagner's larger-than-life operas are made of. The first track is the Entrance Of The Gods Into Valhalla, the final scene in Das Rhinegold, the first of the four Ring operas. Pity this album does not begin with the beautifully mysterious and spiritual Rhinegold Overture, which would have been more appropriate, as the music segues into the Entrance of the Gods. But even as it is, it's wonderful. The music describes the vainglorious Odin, his wife Freya and the other Norse gods ascending into the glittering golden palace of Valhalla, pride and downfall of the gods. The music is bombastic and grand, just like one hears it at the opera, a melage of trumpets and brass. But the music is also composed of melancholy strings (violins) describing the lament of the Rhinemaidens, bemoaning the loss of the Ring and foreshadowing the coming tragedy. Track 2: Ride Of The Valkyries: This famous war march has been heard in films (such as Apocalypse Now) and occurs toward the end of "Die Walkure". It's a militaristic, noisy, ebullient battle cry. In the opera, Brunhilde, Odin's immortal daughter, has rebelled against him and takes to the air on winged horses with her fellow Valkyries. This interpretation is quite different than others you'll hear because Szell discovered an additional bit of music that Wagner intended to be played but for the most part is not heard. If you're quick, you'll catch it. It's a repetition of the battle cry "Hojo-to-ho" on the trumpet, occuring toward the last portion of the piece. 3: Magic Fire Music: This "magical" music, mostly for strings, serves as the score to the final scene in "Die Walkure" in which Odin has cast a sleeping spell on Brunhilde and puts her in the middle of a ring of fire, where she will await the kiss of the hero Siegfried. The tristesse of the piece represents a father's grief for the loss of his most belove daughter. Track 4 and 5 Forest Murmurs and Siegfried's Journey: This music is taken from various moments in the opera "Siegfried" which relates the hero's adventures. He awakens the sleeping Brunhilde who has become mortal, slays the fearsome dragon Fafnir and wields as magical sword. The Forest Murmurs takes place in the immense forest where Brunhilde lies sleeping. Endowed with the gift of communicatin with nature, a bird tells Siegfried where he can find Brunhilde. If one does not overanalyze the music, merely strings and flutes, one can clearly feel the word-painting and characterization in the piece. The flute is the bird or birds and the forest itself, the more powerful chords represent Siegfried and the brief "Valkyrie" motif stands for Brunhilde. In "Rhine Journey" we hear the strings become the flowing river and we can see Siegfried journeying to a dangerous adventure, one which costs the hero's life. In "Siegfried's Funeral March" Siegfried has been betrayed and is slain by the Giants. The funeral music is dark, primal and powerful in its depiction of nobility and downfall. As it ends, we hear Brunhilde's love theme which then appropriately takes us to the Immolation Scene. Brunhilde, distraught over the death of her beloved, summons her horse and leaps over Siegfrie'ds burning funeral pyre, a grand act of love and sacrifice, the first hint of humanity and compassion in otherwise dark drama filled with greedy and wicked characters. This leads to Valhalla's demise by fire and water and the world ends. Only the Rhinemaidens remain, taking back the ring which had long been stolen from them. Though these are only portions of music from the supremely lengthy score, it is enough to entice the listener to seeing the Ring, the biggest feast of opera one can ever undertake. The Overture to Tristan and Isolde summarizes the work itself. It's a high romantic tragedy concerning the knight Tristan, the King he serves and Isolde the Queen, whom he falls in love with. Their love is doomed but the magic and transient bliss is perfectly captured in the luminescent Overture, which begins softly and mysteriously with the "Tristan Chord" and culminates with a ravishing rush of strings. The Liebestod, the Love Death, is Isolde's swan song, as she dies of love for the fallen knight. Szell does not play this too fast or too slow. It's done right, and it's heartbreaking, ethereal and magnificent, perhaps even at the level of Karajan's famous interpretations of it. The final track is the grand overture to Die Mastersanger Von Nuremberg, a lengthy paean to Mediveal chivalry, all grandeur and pomp.

Five Stars Well Deserved. Make this your first intro to Wagner. The music will seduce you into watching Wagner operas. Dreamy, romantic, grand, sad, larger than life, Szell has captured the essence of Wagner in a single album. Buy it now. It's cheap and affordable. It's highly recommended. Enjoy.

Fabulous Wagner!.......2006-10-07

This is certainly very good music-making, falling just a little short in the colors department - for which the Berlin under Karajan or the Philadelphia under Ormandy are the ticket. But that aside it's difficult to accept all this Szell bashing. People still listen to the Cleveland recording of the Dvorak Slavonic Dances and will for years to come. And unless you have to have original instruments it's tough to beat Szell and the Cleveland orchestra's brio and attention to detail in Mozart and Haydn.
Of course some of this carping may be the result of a little bit too much self-esteem and not enough appreciation for just what it takes to lead an orchestra at such a level. I remember in college I happened to be at a small gathering of literary people including a few novelists and poets and one critic,the august Edmund Wilson. Not knowing any better I walked right up to a stern-looking older man looking every bit the serious 'Dean of American Critics' and blurted out how much fun I had reading his story "The Man who Shot Snapping Turtles." Apparently this gushing adolescent accolade softened him a bit, and he talked with me for a couple of minutes. The last question I asked him was what did he consider the most important thing in writing criticism. Mr. Wilson blurted out bluntly, "Get it right!"
Over the years I have always thought there was a world of truth in that rather journalistic maxim. The reviews here are a perfect example. One could write and gush about this and that, but at the end of the day it doesn't matter how many names you drop, or airs you put on, if you cannot recognize quality you're no better than the crook in Gatsby whose idea of a small town where one could safely pass counterfeit bonds over the counter was Detroit.
In the Great Gatsby the crook passing false currency for real is picked up by the police. Unfortunately Amazon readers are easily mislead by glowing praise or, in the case of some of the reviews of the Wagner here, cold dislike. People react to harsh words, and especially when they are well written and sound based on experience. Let me assure you - no one is always right, and there are some people who, for whatever reason, have skewered taste.
The Szell Cleveland Wagner CD here is a series of showpieces, played very very well by the Cleveland orchestra. What sets this apart from many Wagner collections is the astonishing orchestra playing. Szell's orchestra, supreme in Dvorak, brings to Wagner's music a clarity rarely achieved by other orchestras. Superbly balanced, the virtousity of the players is on full display. It's a joy to actually hear all the myriad instrumental sounds in Wagner's score - Wagner played in tune, what a shocking concept. And particularly Wagner devoid of bathos! Tovey used to cite Wagner as perhaps the best of all orchestrators; here we have the Cleveland at the pinnacle of their glory days, a wonderful momento. Writing nasty dismissive words about performances of this caliber says more about the reviewers than it does about the recording.
This has been remastered for SACD and if you have a machine that will play SACDs then that is the one to purchase.

Szell has not fallen!.......2006-01-14

I quote from a previous review: "Perhaps no eminent conductor has fallen so far after his death as George Szell". To this comment, I say "Baloney". One great thing about Amazon is their sale of deleted CDs by independent sellers. When George Szell/Cleveland Orchestra CDs suddenly disappear, their price by the independent sellers skyrockets. As for the present CD, I have bought it on LP, cassette and CD and cherished it for years. The playing is sensational, the performances have plenty of passion and the sound is great. The Die Meistersinger and Tristan excerpts were recorded earlier than the Ring and have a little more spontanaiety but the Ring excerpts are also outstanding.

Precise, clinical performances in dated sound.......2005-10-29

Perhaps no eminent conductor has fallen so far after his death as George Szell. He was treated with enormous respect during his long tenure with the Cleveland Orchestra, and he couldn't appear in Carnegie Hall without getting raves from the New York critics (his reviews were much better than Bernstein's). On the evidence of this cold, unfeeling CD of Wagner excerpts, mostly from the Ring, one wonders why. Every excerpt is treated to the same strict, unyielding approach; there is no rubato or romanticism. In addition the sound is thin and full of hiss (Szell's LPs on Epic were infamous for their bad sound, and Sony hasn't bothered to improve things on their digitual reissue.)

I will remember Szell fondly from my formative years in the Sixties, but he has become a dead letter in the intervening decades.

Average customer rating: Wagner's best music Stoki's greatest recordings ever. Magnificent performances of Wagner masterpieces.

Wagner Weekend - The Ride of the Valkyries 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 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 CDs $7 - $10 | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music All Bargain Titles | Operas | Opera & Vocal | Today's Deals in Music | Formats | Music The Decca Records Store | Specialty Stores | Music 4-for-3 Opera & Vocal | 4-for-3 Music | Stores | Music Similar Items: The Best Of Wagner Wagner: Orchestral Works 25 Thunderous Classics Debussy: Nocturnes No1-3; Prélude à l'après-midi d'un faune Wagner without Words ASIN: B0000041T7 Release Date: 1989-09-20

Tracks:

1. The Ride Of The Valkyries
2. Dawn And Siegried's Rhine Journey
3. Siegfried's Death And Funeral Music
4. Entrance Of The Gods Into Valhalla
5. Forest Murmurs
6. Prelude

Customer Reviews:

Wagner's best music.......2007-05-25

This is real music by a real genius. One wonders how he and other classical composers could envision all of the instruments interacting together to produce the desired outcome.

Stoki's greatest recordings ever........2004-04-05

These orchestral works from the Ring and Die Meistersinger are some of the most thrilling interpretations on record. Stokowski was very passionate about Wagner and it is obvious. The writer usually does not agree with the conductor's style but admits that he was blown away here. Conducting the London Symphony, Stoki forces the "Stokowski Sound" out of the flood gates immediately. The color of the recordings is amazing yet it never gets excessive. The "Ride of the Valkyries", "Rhine Journey", "Funeral March", and "Entrance Into Valhalla" are equally impressive for all of the above reasons. The crown jewel of this CD however, is the "Forrest Murmurs." Combining all of the emotions and ideas associated with the opera (wonder, mysteriousness, joy, and triumph) is a monumental task. Stokowski and the LSO pull it off in dramatic fassion. It has never been bested. The live performance of the prelude to Die Meistersinger is electric and has adrenaline that is common with such recordings but it is very interesting to know why. Stokowski and the orchestra performed the overture without fully rehersing it! During rehersal, they began and after a few bars of music Stokowski stopped the orchestra and said, "We don't need to do this. You all know it!" He was right.

Magnificent performances of Wagner masterpieces........2000-09-19

Like many people, I find most of Wagner's operas somewhat difficult to listen to from start to finish. But each of Wagner's operas contains sections that are simply gorgeous. This CD collects five such pieces from his "Ring" cycle. Each is magnificently conducted by Leopold Stokowski who, in my view, was the greatest Wagner conductor -- and, possibly, the greatest all-around conductor -- of the 20th century. If you think you don't like Wagner's music, please try this CD. I think it will convert you.

Average customer rating: Get the DVDs instead. The CDs just don't cut it. NIBELUNGEN "BEST BUY" A legendary release! Great music, great singing Bowled over by Barenboim - Exhilarating beauty and dramatic power in the best modern Ring ...

Wagner: Der Ring des Nibelungen Manufacturer: Warner Classics ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music Barenboim, Daniel | ( 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 Similar Items: Wagner: Der Ring des Nibelungen Wagner: Parsifal Wagner: Parsifal Wagner - Das Rheingold / Tomlinson, Clarke, Holle, Finnie, Johansson, von Kannen, Svenden, Barenboim, Bayreuth Opera Wagner - Gotterdammerung ASIN: B0009BOJSO Release Date: 2005-11-08

Tracks:

1. Vorspiel - Prelude - Prelude - John Tomlinson
2. Weia! Waga! Woge, Du Welle - John Tomlinson
3. He He! Ihr Nicker! - John Tomlinson
4. Garstig Glatter Glitschriger Glimmer! - John Tomlinson
5. Wie In Den Gliedern Brunstige Glut Mir Brennt - John Tomlinson
6. Lugt, Schwestern! - John Tomlinson
7. Was Ist's, Ihr Glatten, Das Dort So Glanzt - John Tomlinson
8. Der Welt Erbe Gewann' Ich Zu Eigen Durch Dich? - John Tomlinson
9. Wotan, Gemahl! Erwache! - John Tomlinson
10. Um Des Gatten Treue Besorgt - John Tomlinson
11. Um Des Gatten Treue Besorgt - John Tomlinson
12. Endlich Loge! - John Tomlinson
13. Immer Ist Undank Loges Lohn! - John Tomlinson
14. Dir's Zu Melden Gelobt' Ich Den Madchen - John Tomlinson
15. Hor, Wotan, Der Harrenden Wort! - John Tomlinson
16. Uber Stock Und Stein Zu Stapfen Sie Hin - John Tomlinson
17. Was Sinnt Nun Wotan So Wild? - John Tomlinson
18. Auf, Loge, Hinab Mit Mir! - John Tomlinson
19. Hehe! Hehe! Hieher! - John Tomlinson
20. Nibelheim Hier - John Tomlinson

Tracks:

1. Wer Halfe Mir? - Gunter von Kannen
2. Nehmt Euch In Acht! Alberich Naht - Gunter von Kannen
3. Zittre Und Zage, Gezahmtes Heer - Gunter von Kannen
4. Was Wollt Ihr Hier? - Gunter von Kannen
5. Die In Linder Lufte Wehn Da Oben Ihr Lebt - Gunter von Kannen
6. Wen Doch Fabt Nicht Wunder, Erfahrt Er Alberichs Werk? - Gunter von Kannen
7. Riesen-Wurm Winde Sich Ringelnd - Gunter von Kannen
8. Krumm Und Grau Krieche Krote! - Gunter von Kannen
9. Da, Vetter Sitze Du Fest! - Gunter von Kannen
10. Gezahlt Hab' Ich: Nun Labt Mich Ziehn! - Gunter von Kannen
11. Ein Goldner Ring Ragt Dir Am Finger - Gunter von Kannen
12. Ist Er Gelost? - Gunter von Kannen
13. Lauschtest Du Seinem Liebesgrub? - Gunter von Kannen
14. Lieblichste Schwester, Subeste Lust! - Gunter von Kannen
15. So Sind Wir Denn Fertig. Seid Ihr Zufrieden? - Gunter von Kannen
16. Weiche, Wotan, Weiche! - Gunter von Kannen
17. Hort, Ihr Riesen! Zuruck, Und Harret - Gunter von Kannen
18. Halt, Du Gieriger! Gonne Mir Auch Was! - Gunter von Kannen
19. Was Gleicht, Wotan, Wohl Deinem Glucke? - Gunter von Kannen
20. Schwules Gedunst Schwebt In Der Luft - Gunter von Kannen
21. Abdenlich Strahlt Der Sonne Auge - Gunter von Kannen
22. Ihrem Ende Silen Sie Zu - Gunter von Kannen
23. Rheingold! Rheingold! - Gunter von Kannen

Tracks:

1. Vorspiel - Prelude - John Tomlinson
2. Wes Herd Dies Auch Sei - John Tomlinson
3. Kuhlende Labung Gab Mir Der Quell - John Tomlinson
4. Einen Unseligen Labtest Du - John Tomlinson
5. Mud Am Herd Fand Ich Den Mann - John Tomlinson
6. Friedmund Darf Ich Nicht Heiben - John Tomlinson
7. Aus Dem Wald Treib Es Mich Fort - John Tomlinson
8. Die So Leidig Los Dir Beschied - John Tomlinson
9. Ich Weib Ein Wildes Geschlecht - John Tomlinson
10. Ein Schwert Verhieb Mir Der Vater - John Tomlinson
11. Schlafst Du, Gast? - John Tomlinson
12. Der Manner Sippe Sab Hier Im Saal - John Tomlinson
13. Winterstume Wichen Dem Wonnemond - John Tomlinson
14. Du Bist Der Lenz, Nach Dem Ich Verlangte - John Tomlinson
15. O Subeste Wonne! - John Tomlinson
16. War Walse Dein Vater - John Tomlinson
17. Siegmund Heib' Ich - John Tomlinson

Tracks:

1. Vorspiel - Prelude - John Tomlinson
2. Nun Zaume, Dein Rob, Reisige Maid! - John Tomlinson
3. Der Alte Sturm, Die Alte Muh'! - John Tomlinson
4. So Ist Es Denn Aus Mit Den Ewigen Gottern - John Tomlinson
5. Nichts Lerntest Du, Wolt - John Tomlinson
6. Was Verlangst Du? - John Tomlinson
7. Deiner Ew' Gen Gattin Heilige Ehre - John Tomlinson
8. Schlimm, Furcht' Ich, Schlob Der Streit - John Tomlinson
9. Als Junger Liebe Lust Mir Verblich - John Tomlinson
10. Ein Andres Ist's: Achte Es Wohl - John Tomlinson
11. Ao Nimmst Du Von Siegmund Den Sieg? - John Tomlinson
12. So Nimm Meinen Segen, Niblungen - Sohn - John Tomlinson

Tracks:

1. So Sah Ich Siegvater Nie - John Tomlinson
2. raste Nun Hier; Gonne Dir Enweihte! - John Tomlinson
3. Hinweg! Flieh Die Enweihte! - John Tomlinson
4. Wo Bist Du, Siegmund? - John Tomlinson
5. Siegmund! Sieh Auf Mich! - John Tomlinson
6. Du Sahest Der Walkure Sehrenden Blick - John Tomlinson
7. Weh! Weh! Subestes Weib - John Tomlinson
8. So Jung Und Schon Erschimmerest Du Holden Schmerz - John Tomlinson
9. ZAuberfest Bezahmt EinSchlaf Der Holden Schmerz - John Tomlinson
10. Wehwalt! Wehwalt! - John Tomlinson

Tracks:

1. Vorspiel - Prelude - Hojotoho! Hojotoho! - John Tomlinson
2. Schutzt Mich Und Helft In Hochster Not! - John Tomlinson
3. Nicht Sehre Dich Sorge Um Mich - John Tomlinson
4. So Fliehe Denn Eilig Und Fliehe Allein! - John Tomlinson
5. Wo Ist Brunnhild', Wo Die Verbrecherin? - John Tomlinson
6. Hier Bin Ich, Vater: Gebiete Die Strafe - John Tomlinson
7. War Es So Schmahlich, Was Ich Verbach - John Tomlinson
8. Als Fricka Den Eignen Sinn Dir Entfremdet - John Tomlinson
9. So Tatest Ein Edles Geschlecht - John Tomlinson
10. Du Zeugtest Ein Edles Geschlecht - John Tomlinson
11. Was hast Du Erdacht, Dab Ich Erdulde? - John Tomlinson
12. Der Augen Leuchtendes Paar - John Tomlinson
13. Der Augen Lechtendes Paar - John Tomlinson
14. Loge, Hor! Lausche Hieher! - John Tomlinson

Tracks:

1. Orchestervorspiel - Prelude - Gunter von Kannen
2. Zwangvolle Plage! Muh' Ohne Zweck! - Gunter von Kannen
3. Hoiho! Hoiho! Hau Ein! Hau Ein! - Gunter von Kannen
4. Da Hast Du Die Stucken, Schandluicher Stumper - Gunter von Kannen
5. Als Zullendes Kind Zog Ich Dich Auf - Gunter von Kannen
6. Vieles Lehrtest Du, Mime - Gunter von Kannen
7. Mein Kind, Das Lehrt Dich Kennen - Gunter von Kannen
8. Wo hast Du, Mime, Dein Minniges Weibchen - Gunter von Kannen
9. Einst Lag Wimmernd Ein Weib - Gunter von Kannen
10. Und Diese Stucken Sollst Du Mmir Schmieden - Gunter von Kannen
11. Da Sturmt Er Hin! - Gunter von Kannen
12. Heil Dir, Weiser Schmied! - Gunter von Kannen
13. Hier Sitz' Ich Am Herd Und Setze Mein Haupt - Gunter von Kannen
14. Du Ruhrtest Dich Viel Auf Der Erde Rucken - Gunter von Kannen
15. Viel, Wanderer, Weibt Du Mir Aus Der Erde Nabelnest - Gunter von Kannen
16. Viel, Wanderer, Weibt Du Mir Von Der Erde Rauhem Rucken - Gunter von Kannen
17. Fragen Und Haupt Hast Du Gelost - Gunter von Kannen
18. Nun, Ehrlicher Zwerg, Sag MIr Zum Ersten - Gunter von Kannen
19. Wie Doch Genau Das Geschlecht Du Mir Nennst - Gunter von Kannen
20. Ha Ha Ha Ha! Der Witzgste Bist Du Unter Den Weisen - Gunter von Kannen
21. Dreimal Solltest Du Fragen, Dremal Stand Ich Luft - Gunter von Kannen
22. Verfluchtes Du Nie Im Finstren Wald - Gunter von Kannen
23. Heda! Du Fauler! Bist Du Nun Fertig? - Gunter von Kannen
24. Fuhltest Du Nie Im Finstren Wald - Gunter von Kannen
25. Sonderlich Seltsam Mub Das Sein! - Gunter von Kannen
26. Feine Finten Weib Mir Der Faule - Gunter von Kannen
27. Notung! Notung! Neidliches Schwert! - Gunter von Kannen
28. Bald Schwing' Ich Dich Als Mein Schwert - Gunter von Kannen
29. Hoho! Hoho! Hahei! - Gunter von Kannen

Tracks:

1. Orchestervorspiel - Prelude - Gunter von Kannen
2. In Wald Und Nacht Vor Neidhohl Halt' Ich Wacht - Gunter von Kannen
3. Wer Naht Dort Schimmernd Im Schatten? - Gunter von Kannen
4. Mit Mir Nicht, Hadre Mit Mime - Gunter von Kannen
5. Fafner! Fafner! Erwache, Wurm! - Gunter von Kannen
6. Wir Sind Zur Stelle! - Gunter von Kannen
7. Dab Der Mein Vater Nicht Ist, Wie Guhl' Ich Vater Nicht Ist, Wie Fuhl' Ich Mich Drob Froh! - Gunter von Kannen
8. Dab Der Mein Vater Nicht Ist, Wie Fuhl Ich Drob So Froh! - Gunter von Kannen
9. Aber - Wie Sah Meine Mutter Wohl Aus? - Gunter von Kannen
10. Meine Mutter - Ein Menschenweib! - Gunter von Kannen

Tracks:

1. Haha! Da Hatte Mein Lied Mir Was Liebes Erblasen! - Gunter von Kannen
2. Da Lieg, Neidleichst Du Eilig Und Schlau - Gunter von Kannen
3. Zur Kunde taugt Kein Toter - Gunter von Kannen
4. Wohin Schleichst Du Eilig Und Schlau - Gunter von Kannen
5. Was Ihr Mir Nutzt, Weib Ich Nicht - Gunter von Kannen
6. Willkommen Siegfried! - Gunter von Kannen
7. Sieh, Du Bist Mude Von Harten Last! - Gunter von Kannen
8. Neides Zoll Zahlt Notung - Gunter von Kannen
9. Heib Ward Mir Von Der Harten Last! - Gunter von Kannen
10. Nun Sing! Ich Lausche Dem Gesang - Gunter von Kannen
11. Orchestrevorspiel - Prelude - Gunter von Kannen
12. Wache, Wala! Wala! Erwach! - Gunter von Kannen
13. Stark Ruft Das Lied - Gunter von Kannen
14. Mein Schlaf ist Traumen - Gunter von Kannen

Tracks:

1. Dir Unweisen Ruf' Ich Ins Ohr - Gunter von Kannen
2. Dort Seh' Ich Siegfried Nahn - Gunter von Kannen
3. Was lachst Du Mich Aus? Alter Frager! - Gunter von Kannen
4. Kenntest Du Mich, Kuhner Sprob, Den Schimpf Spartest Du Mir! - Gunter von Kannen
5. Mit Zerfochntner Waffe Floh Mir Der Feige? - Gunter von Kannen
6. Selige Ode Auf Sonniger Hoh! - Gunter von Kannen
7. Das ist Kein Mann! - Gunter von Kannen
8. Heil Dir, Sonne - Gunter von Kannen
9. O Siegfried! Siegfried! Seliger Held! - Gunter von Kannen
10. Dort Seh' Ich Grane, Mein Selig Rob - Gunter von Kannen
11. Kein Gott Nahte Mir Je! - Gunter von Kannen
12. Ewig War Ich, Ewig Bin Ich - Gunter von Kannen
13. Dich Lieb' Ich: O Liebtest Mich Du! - Gunter von Kannen
14. lachend Mub Ich Dich Lieben - Gunter von Kannen

Tracks:

1. Dir Unweisen Ruf' Ich Ins Ohr - Gunter von Kannen
2. Dort Seh' ich Siegfried Nahn - Gunter von Kannen
3. Was Lachst Du Mich Aus? Alter Frager! - Gunter von Kannen
4. Kenntest Du Mich, Kuhner Sporb, Den Schimpf Spartest Du Mir! - Gunter von Kannen
5. Mit Zerfochtner Waffe Floh Mir Der Feige? - Gunter von Kannen
6. Selige Ode Auf Sonniger Hoh! - Gunter von Kannen
7. Das Ist Kein Mann! - Gunter von Kannen
8. Heil Ist Kein Mann! - Gunter von Kannen
9. O Siegfried! Siegfried! Seliger Held! - Gunter von Kannen
10. Dort Seh' Ich Grane, Mein Selig Rob - Gunter von Kannen
11. Kein Gott Nahte Mir Je! - Gunter von Kannen
12. Ewifg War Ich, Ewig Bin Ich - Gunter von Kannen
13. Dich Lieb' ich: O Liebtest Mich Du! - Gunter von Kannen
14. Lachend Mub Ich Dich Lieben - Gunter von Kannen

Tracks:

1. Wer Ist Gibichs Sohn? - Gunter von Kannen
2. Begrube Froh, O Held, Die Halle Meines Vaters - Gunter von Kannen
3. Wilkommen, Gast, In Gibichs Haus! - Gunter von Kannen
4. Deinem Bruder Bot Ich Mich Zum Mann - Gunter von Kannen
5. Bluhenden Lebens Labendes Blut Traufelt' Ich In Den Trank - Gunter von Kannen
6. Frisch Auf Die Zur Wacht - Gunter von Kannen
7. Altegewohntes Gerausch Raunt Meinem Ohr Die Ferene - Gunter von Kannen
8. Altegewohntes Gerausch Raunt Meinem Ohr Ferne - Gunter von Kannen
9. Hore Mit Sinn, Was Ich Dir Sage! - Gunter von Kannen
10. Welch Banger Traume Maren Meldset Du Traurige Mir! - Gunter von Kannen
11. Blitzend Gewolk, Vom Wind Getragen, Sturme Dahin - Gunter von Kannen
12. Brunnhild! Ein Freier Kam, Den Dein Feuer Nicht Erschreckt - Gunter von Kannen

Tracks:

1. Orchestervorspiel - Prelude - Gunter von Kannen
2. Schlafst Du, Hagen, Mein Sohn? - Gunter von Kannen
3. Der Ewigen Macht, Wer Erbte Sie? - Gunter von Kannen
4. Hoiho, Hagen! Muder Mann! - Gunter von Kannen
5. Heib Mich Willkommen, Gibichskind! - Gunter von Kannen
6. Hoiho! Hoihohoho! Ihr Gibchsmannen, Machet Euch Auf! - Gunter von Kannen
7. Was Tost Das Horn? - Gunter von Kannen
8. Rustet Euch Wohl Und Rastet Nicht - Gunter von Kannen
9. Heil Dir, Gunther! - Gunter von Kannen
10. Gegrubt Esi, Teurer HeldL Gegrubt, Holde Schwester! - Gunter von Kannen
11. Einen Ring Sah Ich An Deiner Hand - Gunter von Kannen
12. Betrug! Betrug! Schandlichster Betrug!! - Gunter von Kannen
13. Achtest Du So Der Eignen Ehre? - Gunter von Kannen
14. Helle Wehr! Heilige Waffe! - Gunter von Kannen
15. Hilf, Donner - Gunter von Kannen
16. Welches Unholds List Liegt Hier Verhohlen? - Gunter von Kannen
17. Wer Bietet Mir Nun Das Hier Verhohlen? - Gunter von Kannen
18. Auf, Gunther, Edler Gibichung! - Gunter von Kannen
19. Mub Sein Tod Sie Betruben, Verhehlt Sei Ihr Die Tat - Gunter von Kannen

Tracks:

1. Orchestervorspiel - Prelude - Gunter von Kannen
2. Frau Sonne Sendet Lichte Strahlen - Gunter von Kannen
3. Ein Albe Fuhrte Mich Irr - Gunter von Kannen
4. Noch Bin Ich Beutelos - Gunter von Kannen
5. Behalt Ihn, Held, Und Wahr Ihn Wohl - Gunter von Kannen
6. Ihr Listigen Frauen, Labt Das Sein! - Gunter von Kannen
7. Kommt, Schwestern! - Gunter von Kannen
8. Hoiho! - Gunter von Kannen
9. Trink, Gunther, Trink! - Gunter von Kannen
10. Mime Hieb Ein Murrischer Zwerg - Gunter von Kannen
11. In Leid Zu Dem WipfelLauscht' Ich Hinauf - Gunter von Kannen
12. Erratst Du Auch Dieser raben Geraun? - Gunter von Kannen
13. Brunnhilde! Heilige Braut! - Gunter von Kannen
14. Orchesterzwischenspiel: Traurzug Interlude: Funeral Procession Interlude Orchestral: MArche Funebre - Gunter von Kannen
15. War Des Sein Horn? Nein! Noch Kehrt Er Nicht Heim - Gunter von Kannen
16. Hoiho! Hoiho! Wacht Auf! Wacht Auf! - Gunter von Kannen
17. Siegfried - Siegfried Erschlagen! - Gunter von Kannen
18. Schweigt Eures Jammers Jauchzenden Schwall - Gunter von Kannen
19. Starke Scheite Schichtet Mir Dort Am Rande Des Rheins - Gunter von Kannen
20. O Ihr, Der Eide Ewige Huter! - Gunter von Kannen
21. Mein Erbe Nun Nehm' Ich Zu Eigen - Gunter von Kannen
22. Fliegt Heim, Ihr Raben! - Gunter von Kannen
23. Grane, Mein Rob, Sei Mir Gegrubt - Gunter von Kannen
24. Zuruck Vom Ring! - Gunter von Kannen

Album Description

The production of a new Ring at the Bayreuth Festival is an event that takes place every six years. Bayreuth recordings of the complete cycle are rare; this is only the third official audio recording and the second filmed version. The Kupfer/Barenboim Ring was performed over a five-year period and recorded at the conclusion when the "Bayreuth Workshop" had raised "the quality of the performance to an almost unsurpassable level" (Der Tagesspiegel).

Customer Reviews:

Get the DVDs instead. The CDs just don't cut it........2007-06-15

As Teldec and its parent company bid farewell to the CD era by shoveling out their back catalog at bargain prices, please go straight to the DVDs and forget this.

This Ring's acting is committed, for which the director, Harry Kupfer, gets the credit. Occasionally Maestro Barenboim balances an orchestral chord or two in a novel way, for which he can take credit. Otherwise this is poor stuff.

Daniel Barenboim, for all his idolatry of Wilhelm Furtwangler, has never figured out how to get from here to there with any feeling of naturalness or inevitability. His awkward pacing makes him no better than mediocre among the Wagner conductors of the last 50 years. He is not at all competitive with Krauss, Keilberth, Kempe, Konwitschny, Bohm, Sawallisch, Solti or Karajan, all of whom make better sense of Wagner's ebb and flow. He is not even competitive with Leinsdorf or Leitner or Hollreiser. A few pretty sounds from the pit do not compensate for a persistent inability to make one section of music follow organically from another.

The singing in this production is bearable on TV, but not so on CD. Siegfried Jerusalem acquits his parched, undersized Siegfried with dignity. However, Anne Evans sounds tremulous and small as Brunnhilde and John Tomlinson declaims brutally at the expense of the musical line, to the utter destruction of Wotan's Farewell. The two of them sound like an Annina and Baron Douphol out of "La Traviata" who've been encouraged by treacherous management to stray out of their league.

Nadine Secunde as Sieglinde is in terrible vocal shape, and Poul Elming has trouble with the top notes as Siegmund, the lowest lying tenor part Wagner ever wrote.

Watch them on DVD instead, and if you must have a CD set, pick up the Bohm at a bargain price, where only a few singers have wobbles instead of all of them, and most have vocal reserves to call upon instead of sounding like they're about to die at any minute. The end of "Walkure" Act One makes for a devastating comparison - Leonie Rysanek and James King are far better.

Then save up your lunch money and get the Keilberth Ring on Testament. Listen to Hans Hotter actually sing Wotan's Farewell, and compare it to John Tomlinson's parlando bellowing. Hotter is so far superior, they're not in the same Valhalla.

A Ferrari and a lawnmower can both do 4 mph. But one can open up with security and confidence and dazzle you, while the other can't ever do any more than 4 mph. That's the difference between Birgit Nilsson's all-enveloping Immolation Scene, where she sounds like she could do the whole thing over again as an encore, and tiny-voiced Anne Evans, who sounds like she'd collapse just at the suggestion.

This set and the Boulez should both survive into a long future as DVDs, but the CDs for both are inadequate, even annoying souvenirs of the weakest part of their productions, the singing.

NIBELUNGEN "BEST BUY".......2007-02-04

Here's a staggering bargain.

These much-praised Bayreuth performances have been available on Teldec since 1994; now Warner has reissued them in a single box and they're an irresistible value: 1/2 the cost, 1/3 the shelf space, still accompanied by 4 deluxe booklets (containing complete German librettos, William Mann's English translations, essays, interviews, performance photos, and 100+ leitmotifs in the margins), plus there's a bonus DVD with generous excerpts from the Unitel video. Rival sets with comparable amenities (Karajan, Solti, Goodall, Keilberth) sell for 2-3 times as much. Budget-priced competitors (the admirable Janowski set, the more variable traversals of Boehm, Levine, Haitink, and Sawallisch) offer only meager pamphlets with plot summaries.

ENGINEERING

Unitel filmed this production during off hours at the 1991-92 Bayreuth festivals - the full staging with no audience, performances featuring live-event energy under controlled conditions. The digital stereo is the lushest I've enjoyed on any Ring recording: Bayreuth's famed acoustic is palpable, there's real room sound, immediacy, and three-dimensionality (but a shade more depth and airiness in '91 - compare the timpani figures in the Todesverkundigung and Siegfried's death scene). Stage noises are mostly unobtrusive: occasional faint shufflings, Hunding banging assorted props in Walkuere, otherwise comparatively few distractions.

CONDUCTOR & ORCHESTRA

These CDs furnish some of the most sumptuous instrumental and choral work you'll hear on ANY Wagner recording. Furtwaengler may be one of his deities, but here Barenboim is the master colorist, closer to Karajan, even to Stokowski. At Bruennhilde's awakening the strings are creamy; launching Goetterdaemmerung Act 3, the brass have a cushioned radiance. More than any recent competitor, Barenboim is supple and specific from beat to beat, turning up subtleties heard nowhere else. In Rhinegold sc. 2 where the gods grow old: the strings sound numb, drained, and fragile. Or Fasolt's murder: an ugly surprise, the curse motive in the brass icy and vibratoless. Or the woodwind asides throughout Siegfried Act 1: Mozartean in their mischief. Or the fatal turning point at "In kampfe nicht": while Bruennhilde teeters on the edge of the pit, the whole orchestra holds its breath. As for the big showpieces - Rheingold's coda, the valkyrie ride, the Siegfried Act 3 prelude - they're breathtakingly powerful yet deft and transparent. In short, there's no more illuminating statement of this vast music on disk.

CAST

The production introduced an all-new, prime-of-life cast, and for continuous listenability Barenboim's lineup outpoints even Janowski's. With his huge, dark, rolling sound, Tomlinson is a stupendous Wotan, every inch the fearsome warlord of myth. Yes, he's a true bass and his high Fs are the end of the line, but he's a consummate theater animal, luxuriant in the "Abendlich strahlt" and Farewell, hypnotic with his big interior monologue, sly and amusing in his Wanderer persona; unquestionably this is a major portrayal. As Bruennhilde, Evans sounds young, sensitive, and technically impeccable - dead-center intonation, effortless slurs in the war cry, consistently lovely tone, and a glowing top that easily rides the orchestra. Her caliber is light for the role, but in the long-lined lyric passages she yields to nobody: "War es so schmaehlich" and "Ewig war ich" are as poised and poignant as I've heard them.

As lead tenor, Jerusalem's adroit musicianship, vivid declamation, and burnished tone are a further pleasure, and he deserves an award for playing his reed-pipe scene in earnest rather than for laughs - Siegfried's loneliness and befuddlement become sincerely touching. True, his voice wearies during the wooing sequence, but he's on form for all of Goetterdaemmerung. Also, his Volsung parents are an exceptional pair: Elming's tenor is fresh and gleaming, Secunde has a sultry soprano, and along with Hoelle's ferocious Hunding, they do exhilarating work in Walkuere Act 1.

Hoelle's Fasolt is better natured but just as granitic; in fact the low voices here are close to superb: Kang is insidious as Fafner and Hagen - a fine-grained, well-knit instrument from top to bottom. As for Alberich, von Kannen is positively virtuosic: his sound isn't plush, but it's firm and in charge over both octaves, he sells the text with immense skill, and the curse is white-hot. Only Brinkmann (Gunther) disappoints, a good baritone behaving badly - attractive in his ariosos, pinched and strained when he tries to get dramatic.

The rest are competitive. Clark's reedy tenor doesn't keep his Loge and Mime from being flamboyantly entertaining. Bundschuh's dusky timbre suggests a forty-something Gutrune, but she's decent listening. Barenboim's other women are all capable: Meier's Waltraute boasts crisp diction, compact tone, and flawless tuning, Svenden's Erda is similarly alert and appealing, Finnie's a high-energy Fricka with potent top notes. Since these ladies double the bit parts, we also get world-class teams of norns, valkyries, and rhinemaidens.

VERDICT

In sum, the total achievement here is formidable - unsurpassed engineering, top-drawer singing, exquisite orchestral playing, uniquely evocative conducting ... and lavish libretto booklets. Verdict: the Ring with the most bang for your buck.

A legendary release!.......2006-12-16

You may argue I am exaggerating quite a lot when I affirm this may be the greatest achievement of Daniel Barenboim as Wagnerian conductor until this date, but I think I am right. And you know as well as I, about the countless and praising epithets around the world.

This superb collection must be included as an obligated reference at the moment you decide to have one of the most complete and extraordinary documents in the Opera History. There is any hole; a superb cast Tomlinson is one the greatest Wotan, the memorable stages, the ravishing illumination, the impressive level of expressiveness of every single character, the incisiveness of the main motifs, the grimace language, the superb eloquence of every little line and the absorbing dramatis personae make of this excellent set a must-have.

Don't miss it under any single pretext this portentous and so long expected Ring.

Great music, great singing.......2006-10-08

First things first, it is difficult to think of a more marvelously conducted Ring cycle in stereo sound than this version. Levine's comes close, though as good as the met is, the bayreuth is in peak form, and BB's conducting lends itself to the music better than Levines slower, though valid, tempos. A good place for amateurs to compare is the giant theme at the entrance of our buddies, Fasolt and Fafner. Levine is almost laughably slow, while BB is at a walking pace(and for those who have seen the DVD, the BB giants are three times the size of the METs-though the mets are superior in voice_Matti Salminen).
Most rings live and die with Wotan. For those who are introduced to the ring with Levines DVD, it is difficult to tolerate anything less than James Morris' outstanding singing, full of full throated and tender legato which tends to reveal a caring fatherly Wotan. Compare Morris and BB's Wotan in Der Alte Sturme and you will find Tomlinsons over annunciation quite unqualified and interfering with the natural beauty and flow of the music. Though overall Tomlinson doesn quite match up to Morris, he is an outstanding Wotan overall. His voice really grows on you as the cycle progresses and it is always apparent how well Tomlinson knows Wotan inside and out. His farewell at the end of Walkure is marvelous, a true test for any Wotan, and he really lets go emotionally and vocally. Despite starting off in rheingold with, as stated before, a tendency to talk instead of sing, which is natural and almost unnoticable when watching the DVD, I tended to long for Morris or Hotter's interpretation with Krauss and KNA. But as this review will be for amateur only, I will not go into the old recording very much and I will also consider price.
BB's brunnhilde is much finer than Behrens on dvd, though on the cd, behrens voice is more powerful than it was several years later when the DVDs were recorded(she is beyond her prime in both).
Of all modern versions, for those who are new to the ring, I would recomend Levine's DVD versions first and foremost. Despite Behrens, everything else is first class. The production is romantic so that first timers will see a something similar to what Wagner intended and what their mind's eye may be predicting. The BB dvd's are complete polar opposites of that visual interpretation, not for those new to the ring.
After aquiring Levine's dvd, I would recomend this set, over Solti's(yes, over Solti's and Karajan's) though not over Bohms. Bohm happens to play with the same orchestra which is interesting to hear this always superb group forty years apart. Though the Bohm doesnt have Hotter, and all who are interested in the Ring must, MUST, hear Hotter's portrayal, though STAY AWAY FROM SOLTI"S DIE WALKURE_it is dreadful after the first act and Hotter is past his prime and sounds as if he is being recorded in an underwater grotto.
For those new to the ring
1. Buy Levine's DVD set
2. Buy this or Bohm's on CD.
fine

Bowled over by Barenboim - Exhilarating beauty and dramatic power in the best modern Ring ..........2006-08-27

Over some years now I have been slowly discovering the daunting world that is Der Ring des Nibelungen, beginning - indeed - with Das Rheingold. I came to Wagner's Ring des Nibelungen completely fresh and unknowing, at first (probably) only having ever heard some 'bleeding chunks' of music from the operas (actually, my first real 'confrontation' with music from the 'Ring' was the gorgeous Erato album with Daniel Barenboim conducting the Chicago Symphony Orchestra, which I love, so that probably influenced my expectations about this music ...), and slowly heading on from listening to just the bits and parts I liked best - only casually wandering from one opera to another without knowing the whole intricate and complex poem/text/libretto - to listening to the acts more and more 'from beginning to end', slowly getting a closer grasp of the complex and convoluted (musical) storyline ...
In fact, my sympathy, appreciation, affection and ultimately love for Der Ring des Nibelungen in general is in fact directly related to my love and appreciation for the 'Barenboim Ring', recorded in 1991 (Das Rheingold & Gotterdammerung) and 1992 (Die Walkure & Siegfried). With me, things as big and complex as the 'Ring' have to take time to grow on me, and the Barenboim Ring has captivated me from the start. Why I especially love the 'Barenboim Ring' has much to do with the singing, but more about that a little later. First a word or two about maybe the greatest 'stars of the show' here: conductor and orchestra ...

ORCHESTRA AND CONDUCTOR. From what I have read, Daniel Barenboim seems to be becoming accepted among the ranks of the truly great Wagner conductors. It is of course also a matter of taste what approach one loves best in this music, but anyhow, aside from any 'accepted views', I have just always thought his Wagner the best. Just a matter of taste, indeed.
To me, maestro Barenboim makes the music sound approprately massive and stately, but at the same time does he somehow maintain (how truly special!) an orchestral sound that is somehow crisply articulated, fresh and transparent, but resplendent with saturated color. As a complete musical 'illiterate' (I can't read music) I don't have a grasp of the musical 'reasoning' that undoubtably must lie behind maestro Barenboim's approach, but to me it all 'feels' just right and in complete harmony. A grand but clear-headed vision. A Parthenon or a Pantheon in music. I don't know, but it may also have to do with the (custom built ;-) Bayreuther Festspielhaus' superbly appropriate acoustics, causing a kind of nicely rounded, resounding but polished sound.
Also, maestro Barenboim's tempi are generally exactly right for my own taste: never too fast (why do some people find his tempi too slow?) but always 'charged' with the right amount of dramatic tension. (But then again, I can't read music, so how would I know what would be the 'right' tempo? Oh, well ...) A clear-headed, but at the same time sweeping, grand vision of Wagner's music that does not revel in the music for its own sake, but above all things lets the music speak as a purely dramatic narrative to underline and focus on the drama that is going on on stage, with some of the most beautiful and at the same time dramatic singers I ever heard.
The orchestra must also, in a sense, be able to 'speak for itself' in this music, and indeed it does so here, as eloquently as one could ever wish, I believe, and sometimes so enthousiastically, that voices are slightly drowned out, even, by its sheer power in climaxes :-)

THE SINGERS. Often, emotions color my view of what I see and hear on certain moments. It's just how (and who) I am. And also, matters of personal taste come 'in the way'. I will not try to apologize for either ;-) But I will try to describe as clearly as I am able - however lacking and personally biased the end result may be - what I find so wonderful about this recorded performance of Der Ring des Nibelungen.
Well, most of the singers are to my ears simply the best for their parts, utterly convincing, and often very moving. All of the 'main characters' are singers that I like or indeed love. We have, among many others, the towering talents of the excellent actor-singer Graham Clark (Mime), the energetic and heroic Siegfried by Siegfried Jerusalem, the enormously expressive, deeply resounding, deeply emotional Wotan by John Tomlinson, and we have the beautifully humane and warmly sympathetic Brunnhilde by Anne Evans. I truly adore Anne Evans' sweet but intelligent Brunnhilde. Her singing is engagingly sympathetic and completely captivating. In climaxes her voice really soars (for example the 'immolation scene'), and she never sounds strained, but she is I think at her best especially when allowed to really show all her nuanced beauty and color during softer passages like Brunnhilde's 'duets' with Wotan or Siegmund (take for example "Siegmund! sieh auf mich!"). I am very fond of Siegfried Jerusalem's Siegfried, and singing together with Anne Evans' Brunnhilde in Act III of Siegfried and Act I of Gotterdammerung, they sound like the true 'dream-pair' to me, reaching - in 'threesome' with the orchestra - highest states of harmony and ecstacy. Also, the 'duets' of Wotan and Brunnhilde in Die Walkure are powerful, but at the same time deeply emotionally engaged. (Seeing them together on the DVD's certainly adds to the experience!) Furt