Wagner: Götterdämmerung

1. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d
   Composed by Richard Wagner
   Performed by Bayreuth Festival Orchestra
   with Helga Dernesch, Thomas Stewart, Annelies Burmeister, Marga Hoffgen, Anja Silja, Ludmila Dvorakova, Wolfgang Windgassen, Sieglinde Wagner, Dorothea Siebert, Gustav Neidlinger, Birgit Nilsson, Josef Greindl, Martha Modl, Wieland Wagner
   Conducted by Karl Bohm
   
   

Wagner: Götterdämmerung,Richard Wagner,Karl Böhm,Bayreuther Festspiele Orchester,Anja Silja,Annelies Burmeister,Birgit Nilsson,Dorothea Siebert,Gustav Neidlinger,Helga Dernesch,Josef Greindl,Ludmila Dvoráková,Marga Höffgen,Martha Mödl,Sieglinde Wagner,Thomas Stewart,Wolfgang Windgassen,Polygram Records,Classical,Classical Music,German/Austrian Romantic Opera,Opera,Opera / Operetta / Oratorio

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Average customer rating: Ring introduction critique FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE Welcome back to a classic analysis Essential for Understanding Wagner's Ring Cycle Very Functional

An Introduction to Der Ring des Nibelungen Deryck Cooke , Georg Solti , Wiener Philharmoniker , Anita Valkki , Berit Lindholm , Birgit Nilsson , Brigitte Fassbaender , Christa Ludwig , Claire Watson , Claudia Hellmann , Dame Gwyneth Jones , Dietrich Fischer-Dieskau , Eberhard Wächter , George London , Gerhard Stolze , Gottlob Frick , Grace Hoffmann , Gustav Neidlinger , Hans Hotter , Helen Watts , Helga Dernesch , Hetty Plumacher , Ira Malaniuk , James King , Jean Madeira , Joan Sutherland , Kirsten Flagstad , Kurt Böhme , Lucia Popp , Marga Höffgen , Marilyn Tyler , Maureen Guy , Oda Balsborg , Paul Kuen , Régine Crespin , Set Svanholm , Vera Little , Vera Schlosser , Waldemar Kmentt , Walter Kreppel , and Vienna Philharmonic Orchestra Manufacturer: Decca ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Baritones | Voices | Opera & Vocal | Styles | Music The Decca Records Store | Specialty Stores | Music Similar Items: Wagner's Ring: Turning the Sky Round Wagner - Der Ring des Nibelungen (Ring Cycle) / Sir Georg Solti Decoding Wagner: An Invitation to His World of Music Drama (includes 2 CDs) Wagner - Der Ring des Nibelungen / Levine, Metropolitan Opera (Complete Ring Cycle) Ring of the Nibelung ASIN: B00000424H Release Date: 2005-09-13

Tracks:

1. Of All Great Musical Compositions... (Examples 1-4)
2. The Fundamental Symbol... (Examples 5-11)
3. Returning Now To The Nature Motive... (Examples 6, 12-16)
4. A Number Of Further Motives... (Examples 5, 17-21)
5. A Second, Much Smaller Family... (Examples 22-25)
6. So Much For Nature. (Examples 26-38)
7. The Cause Of The Deterioration... (Examples 39-44)
8. The Other Transformation... (Examples 45-48)
9. Several Other Motives... (Examples 49-52)
10. Two Further Motives... (Examples 41, 53-61)
11. The Basic Motive Associated With The Spear... (Examples 62-68)
12. Along Another, More Complex Line... (Examples 69-72)
13. In Act Two Of Walkure... (Examples 69, 73-75)
14. Returning Now To Act Two Of Walkure... (Examples 76-79)
15. Love Is Another Of The Central Symbols... (Examples 80-83)
16. Later In The Same Scene... (Examples 84-87)
17. Freia's Motive Has Two Independent Segments... (Examples 88-91)
18. The Label 'Flight'... (Example 92)
19. When Fasolt, In Scene Two Of Rhinegold... (Examples 93-98)
20. A Little Later In The Interlude... (Examples 99-103)

Tracks:

1. The Other New Motive... (Examples 104-109)
2. There Are Several Independent Love-Motives... (Examples 110-114)
3. The Characters In Whose Lives... (Examples 115-120)
4. One Further Motive Belongs... (Example 121)
5. The Sword Motive Recurs... (Examples 122-130)
6. Ironically, This Phrase... (Examples 131-135)
7. Closely Associated With Gutrune's Motive... (Examples 136-140)
8. Here We Come To The End... (Examples 141-146)
9. Complemtary To This Symbol... (Examples 147-149)
10. One Last Central Symbol... (Examples 150-157)
11. One Further Motive Connected... (Examples 158-161)
12. There Are One Or Two Motives... (Examples 162-168)
13. These Motives Of Alberich And Mime... (Examples 169-171)
14. Quite A Number Of The Subsidiary Motives... (Examples 172-176)
15. Besides This Family Of Motives... (Examples 177-180)
16. Our Final Example... (Examples 10, 181, 182)
17. In The Final Scene Of Gotterdammerung... (Examples 181-183)
18. Even More Masterly... (Examples 184-188)
19. Now If We Return... (Examples 189-191)
20. This Masterly Way... (Examples 192, 193)

Amazon.com

When Wagner set the Ring to music, he intended the orchestra to act in the fashion of a chorus from a classic Greek tragedy--setting the mood and commenting on the action. In order to allow a nonverbal musical line to reflect on the plot, Wagner developed a psychologically and musically complex symbology to communicate his thoughts to the listener. From the beginning the Ring has spawned numerous written commentaries on the relationships of the motif structure, but by using examples from the Decca Ring recording, Deryck Cooke's thoughtful spoken commentary is by far the most accessible guide for either the fledgling Ring enthusiast or the seasoned veteran. --Christian C. Rix

Customer Reviews:

Ring introduction critique.......2006-11-04

This is very worthwhile, at the same time it requires time, patience and attention, but it does provide some keys to better enjoyment of a sensational piece of music.

FASCINATING STUDY FOR NOVICES AND AFFICIONADOS ALIKE.......2006-08-16

This may look an intimidating, daunting and dull prospect - a 2+ hour lecture on the motifs in the Ring. Don't be put off. Whether you're a relative novice to the Ring and want to find out what it's all about, more experienced with a desire to understand the composer's methods better or an afficionado who thinks he knows it all inside out, there is great pleasure as well as elucidation to be had from this set. Originally made to accompany the Decca Solti Ring, it contains a multitude of musical illustrations taken from those recordings as well as some specially recorded by Solti just for this Introduction.

It wasn't the first time this has been tried. The famous HMV sets from the late 20's also included recorded examples of over 100 motifs. (These, by the way, are available as part of the Pearl reissue of those wonderful HMV recordings). What that set lacked was the wonderful insights as well as the approachability of the talk by Deryck Cooke. Cooke was a great and much missed musicologist - a Mahler expert responsible for the performing edition of the Tenth Symphony still most played today, a fascinating explorer into the nature of music's basic building-blocks in his excellent book, The Language of Music, and an inspiring and elucidating critic of Wagner's work as shown by the fascinating book he left unfinished at his death, I Saw the World End.

On these CDs he does much more than list the leitmotifs and identify them as calling-cards. He shows the amazingly integrated and organic growth of the musical material that Wagner uses throughout his vast work. He demonstrates how motifs can change their sense and meaning as they evolve through the drama. And he shows how the complex combinations of motifs can radically advance both the musical and the dramatic narrative of the piece. There are even places where he corrects the misinterpretation of some of the motifs that had become ingrained from early commentators' false labels.

This set should engage and enlighten anyone with an interest in Wagner's huge and inexhaustible tetralogy. Do give it a try - no matter how far down the road to Wagnerianism you are.

Welcome back to a classic analysis.......2006-05-28

Deryck Cooke's lecture series upon THE RING is almost as much a classic by now as the Solti RING cycle, with which it was originally issued on LP, and from which it derives its musical examples. The difference is that whereas the Solti RING has been continuously in print ever since it was completed, and was among the first opera sets to benefit from the CD revolution, the Cooke analysis was for long almost totally unobtainable. Now we have it back. It should be welcomed: it is a classic. Cooke's mellow, deep voice with the hint of a Celtic burr - which made him ideal on BBC radio - patiently explains Wagner's melodic, rhythmic, and harmonic metamorphoses to such good effect that if you own this recording, you really require no other RING analysis. (A pity about the abrupt beginnings and endings of too many vocal and orchestral illustrations, though.) Musicology lost a fine, sensitive thinker with Cooke's premature death in 1976.

If all you want is dilettantish baby food, there are plenty of dumbed-down Wagner commentaries on the market, stretching from Anna Russell's famous monologue (which doesn't pretend to be anything other than a parody aimed at morons) to the latest standard-issue "Wagner-was-a-Nazi-boo-hiss" feuilleton (which, unfortunately, does). Without reasonable score-reading skill you will find Cooke useless, however diligently you have ploughed through Marx, Jung, Freud, or other gurus purportedly relevant to THE RING. Cooke expects you to use your brains and your musical sense. Quelle horreur. At today's BBC his "elitism" would render him unemployable.

Essential for Understanding Wagner's Ring Cycle.......2006-05-15

I originally bought this set on vinyl in the early 70s when I discovered the Ring in college. I studied the records and booklet assiduously, and after about three run-throughs I finally started getting it. Wow! Thirty-five years later, I still remember Mr. Cooke's analyses of various motive families, and I don't know how I could have mastered and loved the Ring without him. I now own this set on CD and listen again on the rare occasion of attending a Ring performance. My wife calls me a "Ring nut," but of course I'm nuts about many other things as well.

Bottom line, buy this set and study it if the Ring has captivated you as it has countless others. The presentation is dry, but sticking with it brings measureless and longlasting rewards.

Very Functional.......2006-03-19

This CD set is excellent for what it sets out to do: present the leitmotives of the Ring according to their relationship to one another and their role in developing both characters and plotlines. Deryck Cooke's lectures on each motive are very insightful, very helpful at cueing the listener into the semantic aspect of Wagner's orchestral writing. The one drawback is that the musical examples are a bit jarring. Without fade-ins or -outs, the engineering is quite barbaric. And though the orchestra was, I believe, conducted by Solti, and is beautifully done, the vocal performances can be quite unpleasant. Point being: this is not background music, but in accomplishing what it sets out to do, it is very successful, and I don't know of anything else like it.

Average customer rating:

Strauss: Four Last Songs; Wagner" Excerpts from Tristan und Isolde & Götterdämmerung Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Strauss | Strauss, Richard | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music 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 Classical | Imports | Stores | Music Similar Items: Richard Strauss: Four Last Songs Songs by Mahler, Handel & Peter Lieberson Peter Lieberson: Neruda Songs La Nilsson: My Life in Opera Bellini - Norma ASIN: B000O59Z0C Release Date: 2007-06-12

Tracks:

1. I. Beim Schlafengehen
2. II. September
3. III. Fruhling
4. IV. Im Abendrot
5. Prelude
6. Mild Und Leise Wie Er Lachelt
7. Dawn And Siegfried's Rhine Journey
8. Starke Scheite Schichtet Mir Dort

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 "GOTTERDAMMERUNG" and a "RING" for the AGES! Full Circle Which Gotterdammerung to buy, Keilberth or Solti? FINE ENDING TO A GOOD RING The Climax of the Definitive Ring

Wagner: Götterdämmerung Manufacturer: Testament UK ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Wagner: Das Rheingold Wagner: Die Walküre Wagner: Siegfried Wagner: Der Fliegende Holländer Wagner - Gotterdammerung ASIN: B000J20D6K Release Date: 2007-02-13

Tracks:

1. Prelude (orchestra) PROLOGUE
2. Welch' Licht leuchtet dort?
3. Dammert der Tag? (Drei Nornen)
4. Dawn/Tagesgrauen/Lever du jour (Orchestra)
5. Zu neuen Taten, teurer Helde (Brunnhilde)
6. Mehr gabst du, Wunderfrau (Siegfried/Brunnhilde)
7. O heilige Gotter (Brunnhilde/Siegfried)
8. Siegfried's Rhine Journey (Orchestra)
9. Nun hor, Hagen (Gunther/Hagen) ACT ONE, scene one
10. En Weib weiss ich (Hagen/Gunther/Gutrune)
11. Vom Rhein her tont das Horn (Gunther/Hagen/Siegfried) scene two Heil! Siegfried, teurer Heldi!
12. Wer ist Gibichs Sohn? (Siegfried/Gunther/Hagen)
13. Bergrusse froh, o Held (Gunther/Siegfried/Hagen/Gutrune)
14. Vergass' ich alles (Siegfried)

Tracks:

1. Gunther, wie heisst deine Schwester?
2. Bluhenden Lebens labendes Blut (Siegfried/Gunther)
3. Was nahmst du am Eide nicht teil? (Siegfried/Hagen/Gunther/Gutrune)
4. Hier sitz' ich zur Wacht (Hagen) scene three
5. Altgewohntes Gerausch (Brunnhilde/Waltraute)
6. Hore mit Sinn, was ich dir sage !(Waltraute)
7. Welch banger Traume Maren (Brunnhilde/Waltraute)
8. Blitzend Gewolk (Brunnhilde)
9. Brunnhild'1 Ein Freier kam (Siegfried/Brunnhilde)
10. Jetzt bist du mein (Siegfried/Brunnhilde)

Tracks:

1. Prelude (orchestra) ACT TWO, scene one
2. Schlafst du, Hagen, mein Sohn? (Alberich/Hagen) scene two
3. Hoiho, Hagen ! (Siegfried/hagen/Gutrune) scene three
4. Hoiho! Hoihohoho!
5. Rustet euch wohl (Hagen/choir)
6. Gross Gluck und Heil (Choir/Hagen) scene four
7. Heil dir, Gunther! (Choir)
8. Brunnhild', die hehrste Frau (Gunther/Choir)
9. Gegrusst sei, teurer Held (Gunther/Choir/Siegfried/Brunnhilde/Hagen)
10. Einen Ring sah ich an deiner Hand (Brunnhilde/Siegfried/Gunther/Hagen)
11. Betrug! Betrug! (Brunnhilde/Gutrune/Choir/Gunther/Siegfried)
12. Helle Wehr! Heilige Waffe!(Siegfried/Brunnhilde/Choir)
13. Glaub', mehr zurnt es mich als dich (Siegfried) scene five
14. Welches Unholds List (Brunnhilde)
15. Vertraue mir, betrogne Frau! (Hagen/Brunnhilde)
16. Auf, Gunther, edler Gibichung! (Hagen/Gunther/Brunnhilde)
17. So soll es sein! (Gunther/Brunnhilde/Hagen)

Tracks:

1. Prelude (Orchestra) ACT THREE, scene one
2. Frau Sonne sendet lichte Strahlen (Woglinde/Wellgunde/Flosshilde)
3. Eine Albe fuhrte mich irr (Siegfried)
4. Siegfried !
5. Ein goldner Ring ragt dir am Finger!
6. Behalt ihn, Held
7. Weialala leia (Flosshilde/Wellgunde/Wogline/Siegfried) scene two
8. Hoiho! (Hagen/Choir/Siegfried)
9. Trink, Gunther, trink! (Siegfried/Gunther/hagen)
10. Mime hiess ein murrischer Zwerg (Siegfried/Hagen/Choir)
11. In Leid zu dem Wipfel (Siegfried/Hagen)
12. Was hor' ich? (Gunther/Hagen/Choir)
13. Brunnhilde, heilige Braut! (Siegfried)
14. Funeral March (Orchestra) scene three
15. War das sein Horn? (Gutrune)
16. Hoiho! Hoiho!
17. Siegfried - Siegfried ershlagen!(Gutrune/Gunther/Hagen)
18. Schweight eures Jammers jauchzenden Schwall (Brunnhilde/Gutrune)
19. Starke Scheite schichtet mir dort
20. Wie Sonne lauter strahlt mir sein Licht
21. O ihr, der Eide ewige Huter!
22. Mein Erbe nun nehm/ ich zu eigen
23. Fliegt heim, ihr Raben!
24. Grane, mein Ross, sei mir gegrusst! (Brunnhilde)

Amazon.com

Testament's 1955 Bayreuth Festival Götterdämmerung completes their release of that extraordinary Ring cycle. As in the previous operas of the tetralogy, this Götterdämmerung scores on several counts. As part of the first Ring cycle to be recorded in true stereo it has important historical interest. As an example of Joseph Keilberth's revelatory conducting, it reminds us that he was a great Wagnerian. His control of the dramatic narrative is superb, with tempos that were considered fast for his time but now are convincingly apt. And as an example of great Wagner singing, it's nothing less than spectacular. Astrid Varnay is a magnificent Brünnhilde, singing with passion, her big dramatic soprano soaring over the orchestra in the Immolation Scene. Windgassen was the Siegfried of choice in the 1950s, and he fits the bill with his virile tenor and characterization. In Joseph Greindl, Keilberth had a black-voiced Hagen who conveyed real menace.

The rest of the large cast is as close to flawless as we have a right to expect, with perhaps the best Gunther (Hermann Uhde) and Alberich (Gustav Neidlinger) on disc, and in Maria von Ilosvay, a Waltraute who is gripping in her long scene with Brünnhilde. The singers are as strong in the last act as they are in the first, remarkable for this long opera. The orchestra is uniformly excellent and the sonics, if not up to today's state-of-the-art engineering, are natural, accurately depicting the voices and projecting a good sense of space and stage spread. This is a unique Götterdämmerung (and Ring cycle), with an unbeatable combination of great performance and decent stereo sound. --Dan Davis

Album Description

The is the fourth and final release of the first stereo recording of Wagner's Ring Cycle, Gotterdammerung recorded during the 1955 Bayreuth Festival and featuring Astrid Varnay, with Joseph Keilberth, conductor.

Customer Reviews:

A "GOTTERDAMMERUNG" and a "RING" for the AGES!.......2007-06-19

This recording of Wagner's "Die Gotterdammerung" recorded live at Bayreuth in 1955 is a TRUE masterpiece, a testament to the heights that can be reached when "everyone works together" for the sake of the "art" itself, not self-aggrandisement (which we have today, generally). Every aspect of this recording pales every other! It immediately, and solidly, goes to the top of the list of "Die Gotterdammerung" 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

Full Circle.......2007-05-09

The 1955 Bayreuth Ring comes full circle with this excellent GOTTERDAMMERUNG. The cycle is a superb example of music drama at its finest, with golden-age performances caught live, in sound equal to the best of its day. We hear a truly stellar cast, in their prime, with several seasons of RING performances behind them. The conductor, Joseph Keilberth, had been conducting at Bayreuth since the 1952 RING. He knew the house well, and all the singers.

I would not want to be without the Clemens Krauss RING of 1953, another great cycle from Bayreuth, but the quality of sound, good as it is, cannot match the 1955 cycle, concluded with this recording. The only real problem the Decca team encountered was with the 'infernal' smoke and fire machine that runs through the Nibelheim scene of DAS RHEINGOLD.

There is no such technical problem with GOTTERDAMMERUNG. This, and its companion dramas of the Cycle, surely must be the benchmark in terms of cast, sound quality, conducting, and orchestral execution. It may be outpointed in certain areas, but overall this GOTTERDAMMERUNG completes a RING that ought to be the first choice, if cost is not an issue.

It is expensive. The cost for the vinyl version is staggering, though I suppose purists will insist on having that incarnation. I am very happy with the CDs, which I purchased one set at a time as they emerged. It took a while, but the wait has been worth it.

Which Gotterdammerung to buy, Keilberth or Solti?.......2007-04-21

I was prepared not to find this Gotterdammerung superior to, or even equal to, the receding Siegfried, but one listening tells me that all is well. Whereas there are few impressive sets of Siegfried on disc, Solti's Gotterdammerung is one of the recordings of the century (I believe I read one poll where it was voted THE recording of the century). Yet for overall dramatic effect, Keliberth also leads an inspiring performance. Since Testament is asking a dear price for this historic set, it might be worthwhile to compare the two rivals.

Solti: The overwhelming element here has always been the Vienna Phil, recorded in sumptuous grandeur by Decca. For sweep and epic proportion, no one has ever come close to matching them. The next freat thrill comes from Nilsson, a Brunnhilde of incomparable power and gleaming penetration. Solti gives us his best effort in Wanger, and among the supporting roles Christa Ludwig (Waltraute), Gunter (Fischer-Dieskau), Alberich (Neidlinger) and Hagen (Frick) cannot be faulted. Windgassen's voice had become worn and leathery over the years, and his Siegfried, although highly experiened and musical, isn't a pleasure to listen to for beauty of voice or youthfulness. (It sounds considerably more taxed in the live Bayreuth set under Bohm on Philips.)

It must be remembered that the stereo era hadn't seen a complete Gotterdammerung before this pioneering effort, which stunned the classical music world in the early Sixties. After four decades, it remains undiminished and sells for reduced price is various reissues. ONe should seek out the latest remastering since the original ADRM version from the early Eighties sounds thin and shrill compared to the original LPs.

Keilberth: Decca also recorded this 1955 live Gotterdammerung, which would be the standard to this day if they hadn't rejected it and moved on to record Solti seven years later. The decision made sense at the time. Although the sonics are fine for a live performance, we hear considerable audience noise and the occasional fluff in the orchestra, which in any event isn't the equal of the Vienna Phil. by a long stretch. Keilberth does one of his best jobs coducting, but he is proficient rather than inspired. I like the opening of the opera, which he keeps from dawdling, but at times Keilberth is too anxious to move forward, and the great set pieces of the Rhine Journey, Funeral March, and Immolation Scene lack the grandeur of studio recordings.

In the cast the standout is Astrid Varnay as Brunnhilde, who sings with passion and commitment, and whose voice is heroic and gleaming enough to encompass the role (she doesn't get tired by the end but is even ore resplendent in the Immolation Scene). Windgassen is nearly as good--he and Varnay were frequently paird and had made DG duet recordings of Wagner). HIs voice is fresh, and he shows stamina during the Act 1 love duet. In the end he was an almost-Heldentenor, but we haven't seen his like as Siegfried since, so I can't complain. The supporting cast is nearly as strong as for Solti, with Neidlinger repeating his signature Alberich. Decca's microhones capture the voices onstage quite realistically and with minimal fade-out due to stage movements.

Overall, Keilberth's interpreatation goes for momentum and propulsion, which is fine in such a long evening, while Solti gives us richness, epic sweep, and the incomparable beauty of the VPO. I am not aobut to make recommendations between the two sets. Many of us who love Gotterdammerung have owned the Solti forever, so it's wonderful to get a second bite of the apple. We'll own both and be greateful.

FINE ENDING TO A GOOD RING.......2007-02-23

I have been more critical than most of the other parts of this Ring Cycle, frequently lauded by others not just as the first stereo Ring, but as the Ring to have over all the rest. To be fair, all 4 parts offer performances that would have been thrilling to have experienced in the theatre, certainly compared to anything you're likely to hear anywhere in the world these days. Standards in Bayreuth in the years following the reopening of the Festival in 1951 and throughout the 50's were impressively and consistently high. But there's the rub. From this one opera house and in that one decade alone there is a range of alternative performances of the Ring, often with a very similar cast, many of which can lay claim to match or even surpass this one, depending on your taste in performance style for this monumental work. Certainly Clemens Krauss from the year before Keilberth is for many people including myself the most satisfying performance of any. Knappertsbusch a couple of years later is patchy but, when he finds his focus, overwhelming - his is a Ring on the grandest scale. These were all in Wieland Wagner's groundbreaking, almost minimalist production from the reopening year of the Festival. Kempe in 1960 (in Wolfgang's first deconstructed dish production) is at the opposite end of the scale; more intimate, more subtle, very much alive to the ebb and flow of the entire cycle. Bohm a few years after that in Wieland's second, much more claustrophobic and primitive production is again a first choice Ring for many connoisseurs, intensely theatrical and with a cast similar to that of Solti's spectacular studio performances, here excelling themselves in live performances. Beyond that, you have Boulez, blowing some fresh air into the textures, cleaning the patina of age off the picture, but less than profound in the great moments, and Barenboim, following in the footsteps of his idol, Furtwangler, in his flexible approach to tempi, but not quite matching his broad architectural control. Neither has a cast to approach those of the 50's.

Having said all that, I must admit that this Gotterdammerung is the finest part of Keilberth's cycle. The urgency of his conducting carries the narrative along on a wave of inevitability to its tragic (if, indeed, it can be called tragic) and glorious end. This works to best effect in the taut, urgent and intense arch of Act 2. In the grandest moments of Act 3, however, you may feel something more is needed. For a Funeral March and an Immolation that carry the full grandeur and weight of the destruction of a whole civilisation (which is what they ultimately are), perhaps you need to turn to Kna, to Goodall or to Furtwangler.

The singers throughout the lifespan of this first Wieland Wagner production were remarkably consistent and uniformly of a far higher standard than we are forced to accept these days. Varnay never sang with less than 100% commitment, here more than ever. Hers is a white-hot performance: the voice has more warmth and darkness (if that's not oxymoronic) than a Nilsson, less mumsiness than a Flagstad and she uses it with bold abandon in the Dawn Duet and the Oathtaking of Act 2. Windgassen is truly a youthful hero (compared to his outings for Solti and Bohm) and brings real poetry to the Narration and Death. I'm inclined to think Neidlinger the definitive Alberich and here, as throughout the cycle, he gives his definitive performance. Uhde, too, is near enough the definitive Gunther, but his performance for Knappertsbusch in '51 perhaps shades this one for penetrating depth of characterisation. I've always found Greindl's voice a bit unattractive compared to the rich blackness of a Frick or an Andresen, but it certainly has the size to dominate a Wagnerian orchestra in full cry in his summoning of the vassals. Rhinemaidens, Norns and a superb Pitz-trained chorus are all worthy of their colleagues.

This is undoubtedly a very fine performance, one that does not deserve to have lain gathering dust on the shelves for so long. The finest Ring on disc, though? For my money that accolade would go to Krauss or, in Gotterdammerung alone, Knappertsbusch in 1951 - a concentrated, intense and profoundly moving performance on the grandest scale. The sound on these new `First Ever Stereo' recordings is good, too, giving an excellent impression of the unique Bayreuth acoustic, but Culshaw and Solti in Vienna are undeniably in a different class. To sum up, this is a Gotterdammerung well worth hearing, owning even, alongside other Bayreuth versions. But to say it sweeps all before it is perhaps overstating the case.

The Climax of the Definitive Ring.......2007-02-16

After having bought Rheingold, Walkure and Siegfried, I had high hopes for this last Ring opera. If anything, they were surpassed. Conductor Keilberth reveals a mastery of this richest and most complex of Ring scores in a way that boggles the mind. Every bit of pacing and phrasing is simply perfect, and it fits together so well that singling out examples won't do it justice. This is a true symphonic entity. anyone who thinks that Gotterdammerung is an overlong opera should listen to the concentration and intensity of Keilberth's interpretation. As for the cast, they really outdo themselves. Windgassen's Siegfried is if anything more secure and heroic than in Siegfried, and his Narration and Death are heartbreaking. Uhde's Gunther is perfect in its blend of heroism and cowardice. Brouwenstyn's Gutrune is perfect as an innocent seductress, von Illosvay's Waltraute is very urgent and really convincing, and Greindl's Hagen is perhaps the most polished and malevolent on recording. Neidlinger remains the classic Alberich, better than on another other cycle, because his portryal is multidimensional, embittered and downtrodden as well as spiteful. As for Varnay's Brunnhilde, well, she is the best, period! Vocally, she combines Flagstad's warmth with Nilsson's high notes, and goes through the metamorphoses of ardent lover to vengeful harpie to transfigured and resigned figure of wisdom more convincingly than any other. The sheer strength that she musters in the Immolation has to be heard to be believed. There is no question about it: GET THIS RING CYCLE AND LISTEN! BAYREUTH RULES FOREVER!
I would like to clarify something here. I fully appreciate other ring recordings in existence. I would never want to be without the Kempe or Krauss Bayreuth Rings, or the great 1951 Knappertsbusch Gotterdammerung. Each has something to contribute to our knowledge and appreciation of this, one of the greatest works of western art. But again, I must say that if I prefer this Keilberth Ring above others, it is merely because this is one Ring in which everything has gone right and fits so perfectly together. Plus, Keilberth seems to unite all the best qualities of the aforementioned conductors and makes this such a compelling experience for this listener. As for the recorded sound, I do not agree that it is behind in quality to the Solti/Decca. Wagner intended for there to be a BALANCE between singer and orchestra, not a predominance of orchestra over singer, something that happens in the Solti at times. This is not to belittle that achievement, but rather, that to my mind and ears, this is more what the composer wanted us to hear. The contrapuntal yextures are simply clearet in this recording; the Rhine Journey could almost be a Bach Brandenburg Concerto! REAL power comes from clarity, subtlety, light and shade, and tension, rather than from sheer muscle and brute force. I feel that Keilberth, like Krauss, Kempe and (at times) Knappertsbusch, offers us these qualities in greater portions than does Solti (again, not to in any way belittle his great concept). It is fortunate that, as I had said in the Rheingold review, there is a richness of great Ring recordings to offer us thought.

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

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

TIMING (Estimate):
Solti's Ring: 14 hours, 30 minutes
Bohm's Ring: 13 hours, 30 minutes
Karajan's Ring: 14 hours, 50 minutes
Goodall's Ring: 16 hours, 50 minutes
Boulez's Ring: 13 hours, 40 minutes
Janowski's Ring: 14 hours, 0 minutes
Levine's Ring: 15 hours, 20 minutes
Haitink's Ring: 14 hours, 10 minutes
Sawallisch's Ring: 14 hours, 0 minutes

CONDUCTING:
Solti: Solti's conducting is driven with sheer muscle, but sometimes he makes the Ring overemotional. His Walkure & Gotterdammerung Preludes are clear examples: they're annoyingly bombastic. Nonetheless he almost seldom loses control with anything. His clear focus on the drama is astonishing.

Bohm: I must say his live Bayreuth recording brings out some of the best. He puts more faith in the orchestral score, but he also gives it more intensity. His tempi are some of the quickest, but they still don't seem rushed at all (except maybe "Wohin schleich'st du eilig und schlau"). I especially like his "Forging Scene" & "Hagen Summons the Vassals"; both are the most energetic on disc.

Karajan: Karajan's chamber approach is very interesting. Instead of going for the drama or the energy, the conductor goes for the beauty. Almost everything in his Ring sounds very ethereal because of his excessive use of lyricism. His orchestral preludes (except Walkure Act 1) sound more beautiful than others, and much of the soft parts (such as Siegfried Act Three Scene Three) are controlled nicely. His "Funeral March" and "Immolation" are recommendable. Siegfried Act Three Scene Two could have improved with more tension.

Goodall: Oh, boy. While I do praise Goodall with his amazing attention to detail, his ridiculously sluggish tempi will tick some Wagnerites off: nothing is faster than andante. But I did enjoy listening to the slow beauty of his "Wotan's Farewell/Magic Fire Music". This was recorded live and sung in English.

Boulez: Here it is, folks - the controversial Centennial Ring. To fit the Ring Cycle in the industrial age, Boulez gives it a very Schoenbergian, Bartokian atmosphere. Much of his tempi are very quick, very Bohm-like, though they're still not as fast as Bohm. Keep in mind, though, this live Ring works only if you hear AND see it (the DVD's work best).

Janowski: This is a very classical Ring. Instead of bombast, spacious, or lyrical passion, maestro Janowski gives us the straightforward approach. He goes straight for Wagner's original intentions (precise tempi, dynamics, flow of leitmotivs, etc.), which makes this another exquisite Ring. "Hagen Summons the Vassals" is probably the fastest I've ever heard (along with Sawallisch's). Rheingold Scene Four can be best described as "sensational".

Levine: While he does stay true to the score like Bohm, this conductor makes for a somewhat dull Ring. His handling of the orchestra is nice, but the moderately slow tempi he chooses is flawed. It should be more animated. His beautiful "Funeral March" and "Erda's Warning" are two of the few flawless features.

Haitink: This might be seen as a disappointment. If you want great conducting, then this is for you. If you want a persuasive array of singers, look somewhere else. Haitink's conducting saves this work from being a total flop. There is nothing quite like his Rheingold & Gotterdammerung ("Siegfried's Rhine Journey" is a bit forced, but magnificent nonetheless).

Sawallisch: I guess you can say that Sawallisch is half-Karajan, half-Janowski. While he does stay true to the orchestral score like Janowski, he also puts in a little Karajan-like lyricism. At some points he loses track with orchestra and singers (as does every live recording) but Bohm has more control. This was also recorded live.

ORCHESTRA:
Solti's Vienna Philharmonic: The woodwinds are the most beautiful in Solti's Ring (the "Forest Murmurs" is clear evidence of that). French horns and Wagner tubas make this a recommended listening. The strings in "Heda Heda Hedo" could've added a bit more work, but they are strikingly spectacular everywhere else. The orchestra gives it their all in Siegfried Act Two & Three, but they are at their weakest in Walkure Act One & Three (Bohm's Bayreuth does it better). Overall, it's the loudest and certainly most bombastic out of all the Ring orchestras combined.

Bohm's Bayreuth Festival: The ultimate Wagnerian orchestra gives it their all. The brass both high and low are the most powerful, while the woodwinds are the most delicate. The strings are muffled only a few times, otherwise the eighteen anvils are perfectly loud and clear. Erda's scenes aren't as effective as Janowski's, but the entire Walkure is more successful than Janowski's when it comes to tone & technique. Overall, this orchestra is the most dramatic.

Karajan's Berlin Philharmonic: The entire orchestra sounds polished, not to say that it is bad. Indeed the drama is still there, but much of the suspense is lacking (the scenes with Fasolt and Fafner come to mind). The brass sometimes overpowers the strings, which can be a serious problem. Gotterdammerung "Three Norns" Scene sounds very mysterious, very eerie.

Goodall's English National Opera: This orchestra sounds nice, even if the sluggishness can bring them down at times. The Flight of the Valkyries doesn't sound too good in a slow tempo, but the entire orchestra does sound lucid here. Siegfried Act Two Prelude is the creepiest. All of the leitmotivs are heard loud and clear, just like in Janowski's version.

Boulez's Bayreuth Festival: While it doesn't really pack the same punches as Bohm's Bayreuth, it still delivers a stunning performance. Orchestral interaction between characters (Ex. Siegfried's motifs mixed in with Mime's motifs) fares better than Berlin's and English National's. Rhine maiden motifs are given more wit, while the Dragon motifs are played with less eeriness. Beauty makes up for the irritatingly quick "Wotan's Farewell".

Janowski's Staatskapelle Dresden: This orchestra has the same force & flair as does Boulez's Bayreuth Festival, only Dresden sounds much clearer due to the fantastic digital sound. Even minor details are heard clear in this Ring. The strings imitate the Siegfried forest very well, while the woodwinds representing the songbird are wonderful (but not as wonderful as Solti's songbird). Dresden's "Magic Fire Music" (along with Berlin's) is the most extravagant.

Levine's Metropolitan Opera: The brass and woodwinds are the true stars. The strings sound too tired to continue on in Siegfried & Gotterdammerung. The Finale to Rheingold is absolutely stunning (the trumpets and trombones will not disappoint), and the Second Act of Walkure is the most impressive, the most refined.

Haitink's Bavarian Radio Symphony: This may very well be like Metropolitan, only this sounds much more poignant. The strings sound better and the percussion sound clearer. The leitmotivs are almost never screwed up. First scene of Rheingold will take one's breath away.

Sawallisch's Bavarian State: Wrong notes in this live recording won't matter, as the entire orchestra gets everything going in all four nights at the opera. The strings never surrender to imperfection, and the winds are marvelously aligned. I just wish that some of the singers would keep up with the orchestra.

SINGERS:
-Wotan
Solti: Hans Hotter is the superior Wotan. He sounds powerful throughout the Ring (except Rheingold, in which a less stellar George London performs).

Bohm and Janowski: Theo Adam in Bohm's live recording is another treat. While he is not as equally impressive as Hotter, he can certainly conjure up everlasting emotions. Adam sounds weaker in Janowski's studio recording, but he still doesn't disappoint.

Karajan: Dietrich Fischer-Dieskau plays Wotan in "Rheingold," while Thomas Stewart replaces Fischer-Dieskau in "Walkure" and "Siegfried". I don't think Fischer-Dieskau was a good choice; he sounds too humane and too light. Stewart makes an astounding improvement in both "Walkure" and "Siegfried".

Goodall: Norman Bailey has that divine spark that Hotter used to cherish. He's heavy and unblemished, and he handles the English text with flair and sheen.

Boulez: If you watch Donald McIntyre on the Centennial Ring production, then you can tell that he's a fine "industrial" Wotan. If you just hear him on CD, then you'll be disappointed. His diction is weak, his emotions are forced, and his voice sounds robotic. The DVD's will do.

Levine and Haitink: James Morris is a notch below Hotter, Adam, and Bailey, but he overpowers Fischer-Dieskau pretty much throughout the Levine's and Haitink's Ring.

Sawallisch: I may be biased, but Robert Hale just didn't do it for me. He sounded dull and tedious, and his Wotan's Farewell wasn't enough to sadden me.

-Brunnhilde
Solti and Bohm: Birgit Nilsson is the best Brunnhilde on the market. Her Valkyrie cry is delightful, and her final scene in Gotterdammerung is brilliant beyond belief.

Karajan: Regine Crespin is without a doubt one of the finest Brunnhildes after Nilsson. She's fantastic in Walkure Act Three. I just wish she stayed on as the Valkyrie later on in the Ring (Helga Dernesch is no good in Gotterdammerung, sorry to say).

Goodall: Rita Hunter is at her strongest in Walkure and Siegfried. She is at her weakest in Gotterdammerung. What may have caused her downfall in the fourth installment? "The world may never know."

Boulez: How can anyone not be impressed by the Brunnhilde of Gwyneth Jones? One can almost feel her excitement during Siegfried Act Three, and her fear in Walkure Act Three. Her weakest point is probably during her Gotterdammerung Prologue (a bit too stressed).

Janowski: Jeannine Altmeyer is basically the most controversial Brunnhilde on CD. Some people say that she's too light and weak, while others say she sounds young and very enchanting. I'm with those who think Altmeyer was a good choice, but you yourself (the shopper) are going to have to decide whether she's good or not.

Levine and Sawallisch: Hildegard Behrens is just like Nilsson and Crespin: while she's not the best, she is definitely another perfect Brunnhilde of choice. She's at her most dazzling when she performs Walkure (Levine) and Siegfried (Sawallisch).

Haitink: Hmph. I was hoping that Eva Marton would do well here. I was seriously let down by her strained singing. She does okay in "Annunciation of Death", but she is at her worst in "Immolation".

-Siegmund & Sieglinde
Let's see. For the Siegmunds, we have James King for Solti and Bohm, Jon Vickers for Karajan, Alberto Remedios for Goodall, Peter Hoffman for Boulez, Siegfried Jerusalem for Janowski, Gary Lakes for Levine, Reiner Goldberg for Haitink, and Robert Schunk for Sawallisch. For the Sieglindes, we have Regine Crespin for Solti, Leonie Rysanek for Bohm, Gundula Janowitz for Karajan, Margaret Curphy for Goodall, Jeanine Altmeyer for Boulez, Jessye Norman for both Janowski and Levine, Cheryl Studer for Haitink, and Julia Varady for Sawallisch. Hmm . . . Jerusalem is good . . . and so is Vickers . . . Janowitz is charming, and so is . . . Oh, what the heck? All the singers for Siegmund and Sieglinde are fantastic. Three exceptions, though: Goldberg and Schunk don't sound heroic enough, and Norman for Levine doesn't sound young and innocent enough.

-Siegfried
Solti and Bohm: Wolfgang Windgassen may very well be the best Siegfried for the ages. His `Forging Scene" in both renditions are defiantly inspiring. His last scene in Gotterdammerung is celestial and overwhelming.

Karajan: Jess Thomas (Siegfried) and Helge Brilioth (Gotterdammerung) may not be as ideal as Windgassen, but they do know how to be a magnificent heldentenor. Thomas pulls it off with Act One and Three.

Goodall: Wow! What a singer that Alberto Remedios! He never drags in either of the last two installments, and he uses the correct emotions in every scene that he is in.

Boulez: Is Manfred Jung a good tenor? Yes. Is he a good Heldentenor? NO. He doesn't have that heroic voice like Windgassen and Remedios. Again, the DVD's are your safest bet.

Janowski and Sawallisch: Rene Kollo's Siegfried is a poetically expressive one. In Janowski's version he sounds playful when he's in Mime's home, and he sounds willed when he's in the Gibich Hall. He is not good enough in Sawallisch's version, however. His tiresome "Forging Scene" is obvious evidence of that.

Levine: Oh, Reiner Goldberg. At least you tried. Seriously, he sounds too tedious (especially in Gotterdammerung Act Three Scene Two) and too old. Levine should've chose Kollo or Jerusalem when he recorded his studio Ring.

Haitink: Have you ever seen Siegfried Jerusalem on the Levine/Metropolitan DVD? Well, here he is again, and this time, he sings with more valor and enthusiasm. Bravo!

-Alberich
Solti and Bohm: Gustav Niedlinger has a heaviness that overwhelms a few other baritones. When he sings his only sequence in Gotterdammerung Act Two Scene One, his emotion is so pure that his son Hagen would've drowned himself in tears (Too melodramatic? Sorry about that.). The only problem is that his character sounds too one-dimensional. Alberich isn't just some cardboard-cutout bad guy. He has a very good reason why he wants to take revenge on the world. Overall, Niedlinger is amazing throughout Wagner's Ring (He deserves many awards for "Bin ich nun frei?").

Karajan: I guess you can say that Zoltan Kelemen tries his best throughout. He is not good in Rheingold, but he gets better in Siegfried and Gotterdammerung.

Goodall: Derek Hammond-Stroud is three-dimensional, but not that much. Still, he can sound very demanding in Rheingold Scene One and Siegfried Act Two Scene One.

Boulez: What we have here is the weak Alberich of Hermann Becht. When he's in Nibelheim, the authority isn't there. When he's in the Neid-Hohle forest, the creepiness isn't there. And when he's near the Gibich house, the misery isn't there. Even on DVD he's unsatisfactory.

Janowski: Siegmund Nimsgern may be the most humane Alberich yet, but it's all good. He sings with more passion than Kelemen and more robustness than Hammond-Stroud. Niedlinger's ferociousness puts him below, however. "Schaf'st du, Hagen, mein sohn?" is noteworthy.

Levine and Sawallisch: Ekkehard Wlaschiha is one hell of a vigorous Alberich. I praise him in Rheingold Scene One and Three. His performance in Siegfried (both versions) could've improved with more distrustfulness towards Mime and the Wanderer.

Haitink: No offense, but Theo Adam as Alberich? Come on . . .

-Mime
Solti and Karajan: Gerhard Stolze is the creepiest Mime ever known to humankind. This dwarf outsings other Mimes on the market. When he sings "Die stucken! Das Schwert!" his anger and fear is the most effective to almost all Ring listeners.

Bohm: Erwin Wohlfahrt wins second place. He gives a first-rate performance in Siegfried Act One, but loses some of his edge in Act Two. He is an exceptional Mime nonetheless. Look for him in Karajan's Rheingold, also.

Goodall: Gregory Dempsey isn't emotional enough. He doesn't sound fearful or depressed at all, which makes him the dullest Mime for the Ring.

Boulez and Levine: Heinz Zednik is yet another excellent Mime, VERY fun to listen to. There is much humor and eccentricity in his voice, and that's what makes his dwarf much more compelling than Dempsey's dwarf. His performance in Rheingold Scene Three is pure gold, while his performance in Siegfried (particularly "Willkommen, Siegfried!") is a stunning achievement.

Janowski: Peter Schreier is for Siegfried, while Christian Vogel is for Rheingold. Vogel is less than perfect, while Schreier is way beyond outstanding. Schreier is less ghoulish and more benevolent, more three-dimensional than Stolze and Wohlfahrt. He is equal to Zednik when it comes to humaneness and lyricism. The only flaw I can find is his handling of "Die stucken! Das Schwert!" He could've added a bit more fear in that sequence.

Haitink: Peter Haage sounds like he's entertaining young kids. His version of Mime is a bit childish, and the dark humor that the dwarf brings out sounds-over-the-top here. Nonetheless, he is still entertaining to listen to ("Wer halfe mir?" has never sounded better).

Sawallisch: Helmut Pampuch is just like Schreier and Zednik: he's very VERY good. Nuff said.

-Loge
Solti: Set Svanholm may be the weakest Loge. He is not very ominous throughout all of his scenes, and his lack of a sinister atmosphere is greatly affects the entire Rheingold. But he'll soon be forgotten later on during the Trilogy.

Bohm: Why the heck would the conductor have Wolfgang Windgassen play both Siegfried AND Loge? The demi-god needs to sound different from a son of a Walsung. Again, another Loge that's marred by lack of cunning.

Karajan: Gerhard Stolze is easily the most entertaining Loge to listen to. He has the wit, the craftiness, and the untrustworthiness that the character deserves. His scenes in Scene Three are delightful.

Goodall: Emile Belcourt isn't as good as Stolze, but he certainly can make some of the best of an English-speaking Loge.

Boulez and Haitink: I can summon Heinz Zednik's performance in just three words: Brilliant Beyond Belief!

Janowski: Peter Schreier is the most eccentric out of all of them, and that's a fact. Much of his singing involves imagination, peril, vengeance, and deviousness. Belcourt and Zednik depend only on vengeance and deviousness, Stolze only imagination and deviousness, Windgassen and Svanholm only peril. His odd conversations with Alberich and the gods/goddesses are classic.

Levine: Siegfried Jerusalem doesn't seem like a good choice for Loge. He's better off playing Siegmund or Siegfried, but not a demi-god.

Sawallisch: Robert Tear is on par with Stolze and Zednik. Sometimes he takes things too low, but all is forgiven with his management of character development.

-Everyone Else
Uh-huh, what can I say? Everyone else does a good job in all Ring recordings. Matti Salminen is the perfect Hagen (Janowski, Levine, and Sawallisch), while Kirsten Flagstad is the most brilliant Fricka (Solti). Anja Silja is the most memorable Freia (Bohm), while Kurt Moll makes the most fabulous Hunding yet (Janowski, Levine, and Sawallisch). The Norns and Rheinmaidens do a splendid job in Solti, Janowski, and Levine. The Vassals (male choir) are at their unsurpassed in Bohm, Goodall, and Boulez. The only flawed Erda is Anne Collins (Goodall), maybe too light and too heavy at times. All in all, no one here is graded C or lower.

CONCLUSION: I have yet to listen to Barenboim's Bayreuth presentation, Neuhold's Badische version, and the essential mono recordings (Furtwangler, Krauss, etc.), but I'm pretty sure that have their advantages and disadvantages. So there you have it. We have the histrionic Solti, the energetic Bohm, the otherworldly Karajan, the spacious Goodall, the industrialized Boulez, the truthful Janowski, the unhurried Levine, the abnormal Haitink, and the serious Sawallisch Rings. They have their own authenticities and setbacks, and they certainly have their own significances for Ring listeners everywhere.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Can EL

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

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

Tracks:

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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:

Story Of Wagner In Words And Music Manufacturer: Vox (Classical) 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 Overtures | Theatrical, Incidental & Program Music | Forms & Genres | 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 General | Children's Music | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Story Of Verdi In Words And Music Stories Of Schumann And Grieg The Story Of Brahms Story Of Dvorák In Words And Music Mendelssohn In Words And Music ASIN: B000001KD3 Release Date: 1995-04-16

Tracks:

1. The Mastersingers: Prelude
2. Lohengrin: Prelude To Act III
3. Faust: Overture
4. The Mastersingers: 'Awake!'
5. The Mastersingers: 'Mad, All The World Is Mad'
6. The Fairies: Overture
7. Siegfried: Forest Murmurs
8. The Mastersingers: Act III Quintet
9. Rienzi: Overture
10. The Flying Dutchman: Overture
11. Tannhaeuser: Pilgrim's Chorus
12. Tannhaeuser: Overture
13. Gotterdammerung (Twilight Of The Gods): Siegfried's Rhine Journey
14. Tannhaeuser: Song Of The Evening Star
15. Lohengrin: Bridal Chorus
16. Tristan und Isolde: Love-Death
17. Tannhaeuser: Venusberg Music
18. Lohengrin: Prelude To Act I
19. The Mastersingers: Prelude
20. The Mastersingers: Prize Song
21. The Mastersingers: Beckmesser And Sachs Duet In Act II
22. The Valkyrie: The Ride Of The Valkyries
23. Gotterdammerung: Siegfred's Rhine Journey
24. Siegfried: Siegfried Idyll
25. Parsifal: Good Friday Spell
26. Gotterdammerung: Siegfred's Funeral Music
27. Tannhaeuser: Overture
28. Lohengrin: Preludes To Act I And III, And Bridal Chorus

Meditation Music:

1. Wagner: Lohengrin
2. Wagner: Siegfried
3. Wagner: Tristan und Isolde
4. Weber: Der Freischütz
5. Weill: Die Dreigroschenoper (The Threepenny Opera)
6. Weill: The Rise And Fall Of The City Of Mahagonny / Latham-Konig, Silja, Schlemm, Neumann
7. What If Mozart Wrote "Roll over Beethoven"
8. Arthur Sullivan: H.M.S. Pinafore
9. Arturo Toscanini Collection, Volume 59: Giuseppe Verdi~Un Ballo In Maschera
10. Basic 100, Volume 59: Richard Wagner [Highlights From The Ring Of The Nibelung]

Meditation Music

meditation music

Meditation Music

Running Man

Antonio Vivaldi: Concerti

A Symposium of Major Rarities, 1901-1909

Music: Stand With the Stillness of the Day

Bedouin Cafe

At Last Alone [Import]

Anti-State: Anarcho-Punk, Vol. 2 [Import]

Almost Here

Afraid of Heights [Import]

A Kind of Magic

1945-1950

15 Super Exitos

A2g

Lil Aaron "Remembers" The Last Employee

Sapphire Dreams: A Romantic Interlude